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SALE AT MENDELSSOHN HALL 
[FORTIETH STREET, EAST OF BROADWAY] 


ON THURSDAY AND FRIDAY EVENINGS 
JANUARY EIGHTH AND NINTH 
BEGINNING PROMPTLY AT HALF-PAST EIGHT O’CLOCK 


THE COLLECTION OF | 
THE LATE MRS. S. D. WARREN 


ON VIEW DAY AND EVENING AT 
THE AMERICAN ART GALLERIES 


FROM SATURDAY, JANUARY THIRD, UNTIL THE MORNING 
OF THE DAY OF SALE, INCLUSIVE 


A DESCRIPTIVE CATALOGUE OF 


PAINTINGS PASTELS 
AND WATER-COLORS 


COLLECTED BY 
THE LATE MRS. S. D. WARREN 
‘OF BOSTON’ 
TO BE SOLD AT ABSOLUTE PUBLIC SALE 
BY ORDER OF THE EXECUTORS 


THE SALE WILL BE CONDUCTED BY 
THOMAS E. KIRBY 
OF THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK: 1903 


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D. B. UPDIKE, THE MERR 


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CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute arise 
between two or more Bidders, the Lot so in dispute shall be wm- 
mediately put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid which is 
_ merely a nominal or fractional advance, and therefore, in his 
judgment, likely to affect the Sale injuriously. 


3. The Purchasers to give their names and addresses, and to pay 
down a cash deposit, or the whole of the Purchase-money, if re- 
quired, 7n default of which the Lot or Lots so purchased to be 
emmediately put up again and re-sold. 


4. The Lots to be taken away at the Buyer’s Expense and Risk 
upon the conclusion of the Sale, and the remainder of the 
Purchase-money to be absolutely paid, or otherwise settled for 
to the satisfaction of the Auctioneer, on or before delivery; in 
default of which the undersigned will not hold themselves respon- 
sible if the Lots be lost, stolen, damaged, or destroyed, but they 
will be left at the sole risk of the Purchaser. 


5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary ; fail- 
ing in which, the object or objects in question will be sold 
subject to the declaration of the aforesaid expert, he being 
liable to the Owner or Owners thereof, for damage or injury 
occasioned thereby. © 


Cty) 


= Se aiid 


CONDITIONS OF SALE 


6. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. 


7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared 
within one day from conclusion of Sale shall be re-sold by public 
or private sale, without further notice, and the deficiency (if any) 
attending such re-sale shall be made good by the defaulter at 
this Sale, together with all charges attending the same. This Con- 
dition is without prejudice to the right of the Auctioneer to en- 
force the contract made at tis Sale, without such re-sale, if he 
thinks fit. 

THE AMERICAN ARt ASSOCIATION, MANAGERS 


THOMAS E. KIRBY, AUCTIONEER 


(529) 


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INTRODUCTION 


HIS Co..ecrion of pictures, owned by the late Mrs. 

S. D. Warren, is sufficiently varied in character and 
high in quality to suggest a considerable catholicity of taste 
and, upon the whole, an excellent judgment in selection. It 
bears little or no evidence of having been systematically com- 
piled, but would seem to be rather the product of indepen- 
dent preferences, guided by a cultivated instinct. On the other 
hand it includes, without doubt, some pictures which are out 
of place in this company; though fortunately they are few in 
number and do not materially affect the general average. 

The range of choice embraced originally a superb “Holy 
Family,” by Filippino Lippi, which has been presented to the 
Boston Museum of Fine Arts. 

A curiously interesting picture ‘in the Collection, as here 
presented, is the “Death of the Virgin,” by Michael Wohl- 
gemuth, in whose workshop Albert Diirer was apprenticed. 
For Wohlgemuth was an eminent craftsman, employing many 
hands, and his work bears the stamp of having been somewhat 
mechanically executed. Yet it was dramatically conceived and 
rendered with shrewd characterization and handsomeness of 
color; presenting a combination of Gothic spirituality and of 
naive realism. The Collection also contains a Madonna that 
has been attributed to Memling, but is now more cautiously 
offered as “Flemish Fifteenth Century”—a little painting on 
lawn, pure in color, sincere in workmanship, and full of tender- 


ness and pathos. With similar discretion another Madonna has 
( vii ) 


INTRODUCTION 
been characterized as belonging to the “School of Perugino.” 
It shows the graceful pose, a little affected, the delicate draw- 
ing, warm color, and sweet fervency of devotion, that mark the. 
work of the Umbrian master. Again, of the Venetian School 
there are two examples, a Madonna by Vincenzo Catena, pupil 
of Bellini and follower especially, though at some distance, of 
Giovanni; and the portrait of a “‘Lady in Venetian Costume,” 
by Brusasorci, an imitator of the styles of Titian and Giorgione. 

After these the Collection begins to develop a certain logic 
of selection. Travelling far afield, 1t comprises of the Fleraish 
School a Rubens and a Velvet Breughel; a small group of 
Seventeenth-Century Dutch, another of Early English, a much 
larger complement of Barbizon, a single Goya, and a large in- 
fusion of French art, representative of the Nineteenth Century, 
with a few works of Americans. Yet throughout the varied 
range one may fancy that the motive which guided the col- 
lector to this or that, was an appreciation of painter-like paint- 
ing; of art in the artist rather than in the subject; and par- 
ticularly of the art of the colorist. For certainly, if it be not 
the result of design, then, by a happy instinct, the Collection 
comprises an unusual number of pictures pictorial in the 
true sense. 

It is, perhaps, a little audacious to single out one picture as 
typical of the character of the selection throughout, but I will 
venture upon the “ Dutch Interior,” by Pieter de Hooghe. This 
artist is not one of those imperatively to be included in a col- 
lection by reason of popular taste. His work is not indispen- 


( viii ) 


INTRODUCTION 


sable to the present-day estimate of what a collector should de- 
sire, as for instance the Barbizon and Early English may seem 
to be. We may conjecture that the picture was bought because 
it made an actual personal appeal to the collector, who appre- 
ciated its clever composition and harmonious scheme of color, 
its atmosphere, and, above all, its charming play of light and 
shade; qualities, to repeat oneself, truly pictorial. An apprecia- 
tion of such qualities added a moonlit harbor by A. Van der 
Neer and, with more originality of choice, a Charlet in prefer- 
ence to a Meissonier. I would not dare to underrate, I do not 
wish to, the latter master, but I heartily applaud the choice 
which passed over the costly creations of the studio in favor of 
the real thing. The Soldier of the Empire as actually he was, 
rendered with a largeness of feeling and bluff simplicity, is 
artistic as it is truthful. 

Similar preferences secured “The Chastisement,” by Ribot, 
one of the great masters of modern French painting; “A Cot- 
tage Madonna,” by Josef Israels; “Regrettant la Patrie,” by 
Corot; ‘‘Horses in Stable,” by Géricault; the “Court Jesters at 
Cards,” by Zamacois; ‘The Culprit,” by Eastman Johnson, and 
the “Turkish Sentinel,” by Charles Bargue. These are all small 
in the matter of inches, but each in its several way has an ac- 
_cent of distinction. The microscopic exquisiteness in the last 
named has its counterpart in “The Card Players,” by Domingo, 
and in “The Cobbler,” by Dominicus Van Tol. But that mere 
minuteness of detail was not of itself considered admirable, may 
be concluded from the absence of examples of those painters 


(ix ) 


~ INTRODUCTION 
who have relied upon it to the exclusion of higher qualities 
of technique. 

It needed no acumen of connoisseurship to take advantage 
of the opportunity to possess the choice little example of Ru- 
bens, ‘“‘Christ’s Ascension,” or “The Flagellation,” by Delacroix, 
but there is more evidence of independent initiative in the se- 
lection of Jan Breughel’s “Circe calling Ulysses.” The naiveté 
of this artist may discourage some, as certainly as it delights 
others. The present is a very fine example; the landscape being 
excellent in drawing and perspective, most limpid and rich in 
color; while the beasts, fabulous and otherwise, are blended 
with the light and shade in a manner charmingly imaginative, 
and the figure of Circe haunts the enchanted spot with a subtle 
mingling of human and supernatural influence. 

Among the figure subjects of more or less pure imagination 
may be mentioned John Lafarge’s water-colors, “The Wise 
Virgin” and ‘Fisherman and Djinn”; Elihu Vedder's Ideal 
Head,— “Tito”; William M. Hunt’s “Sleeping Mother and 
Child”; one of Greuze’s ideal representations of girlish inno- 
cence; a “Head of a Young Girl,” by Goya, and “The Quad- 
roon, by George Fuller. The last is a particularly notable 
example of this gifted artist. A fervor of suppressed emotion, 
of mystery and pathos, thrills through the large canvas; the 
figure is life-sized, and, blended with its splendid wholesome- 
ness, is a tenderness of feminine grace and a revelation of the 
soul within the form, that even Fuller, though he spent him- 
self in its pursuit, rarely attained. Another canvas of impor- 


(x) 


INTRODUCTION 

tant dimensions is “La Source,” by Puvis de Chavannes. We 
may as well grant there are passages in the construction of the 
figures that cannot be explained anatomically. Yet the picture 
as a whole is fascinating, if you accept the artist’s motive of 
giving a decorative flatness of pattern to his compositions, and 
of reducing his figures to the utmost simplicity, so that gesture 
shall predominate over form and the gesture be an expression 
of passive quietude of soul. The landscape is of tender greens, 
blithe and virginal; the figures are Greek in suggestion, but 
relevant to no period or place; rather, as in most of Puvis’ pic- 
tures, ideal creatures, that witness in this case to the world’s 
eternal springtime, and to the possibilities of perennial youth 
in the human soul. How interesting is the comparison of this 
picture with Delacroix’s “‘Herminie et les Bergers”! Here, too, 
is exhibited the artist’s power of detaching himself from his 
present and of recreating the flavor of the antique thought. 
Not, however, with the formal wrappings of fact, but in a spirit 
of romantic invention; clear, for the moment, of his usually 
impetuous emotions, a glad, free play of fancy in a primitive 
world, across which moves the spiritualizing influence of an 
ideal chivalry. The picture is melodious in color, pure and fresh 
like Puvis’, but less lyrically plaintive, having the fuller expres- 
sion of feeling and the virile force of the artists of Romance. 

The group of portraits includes a fine example of that con- 
scientiously realistic contemporary of Rembrandt, Van der 
Helst; a plain, blunt portrait of a Burgomaster’s wife, full 
of character, affectionately precise in details, and altogether 

Crt) 


INTRODUCTION 

womanly and dignified. What a contrast it presents to the 
‘Lady Hervey of Bristol,” by Sir Joshua! Here the conception 
is one of calculated artifice, and yet the fragrant personality of 
a true woman, and a beautiful one, peers through the affecta- © 
tion of her pose. The carriage of the head has an assurance 
of elegance; the lines of the neck and bust are instinct with - 
subtle grace, and the flesh tones, pure and luminous, vibrate 
with life. The portrait is a conspicuously gracious and noble 
example of the master. Equally characteristic is the example 
of his rival, Gainsborough. The ‘Constantine John Phipps” 
has a refreshing color-scheme of blue and silvery whites, and 
represents, with truth-loving simplicity, a shrewd, kindly gen- 
tleman, whose thoughtful face will be apt to linger in the 
memory. By Lawrence there are two interesting portraits, Lord 
and Lady Lyndhurst; the latter, especially, recalling the viva- 
city and brilliance of his style, and, except in a passage here 
and there, his facile skill of hand. ae 

In connection with the portraits may be mentioned two his- 
torical pictures—‘“Cardinal Bibbiena espousing his Niece to 
Raphael,” by Ingres, and Gérome’s “L’Eminence Grise.” In 
these we shall not find the painter-like qualities; but draughts- 
manship of a superior quality and, especially in the latter, a 
wealth of characterization and dramatic conception of the epi- 
-sode, that make the picture extraordinarily interesting. 
_ A reference to the landscapes may fitly begin with Richard 
Wilson’s “Tivoli Landscape,” nobly characteristic of his ele- 
vated, if formal, style; handsome in composition and skilfully 


(xirs) 


INTRODUCTION 
constructed, with richness of tone in the foreground and a 
luminous vibration in the sky, steeped throughout in a gran- 
diose placidity. Of his contemporary, Gainsborough, there is a 
small example, charmingly reminiscent of his dreamy spirit 


and tenderly simple naturalness. The Morland, also, “Reading 


the News,” is a happy specimen of his rustic scenes; with quite 


a Dutchman’s feeling for tone, excellently painted and admi- 
rable in its unaffected truth of characterization. A delicious 
little Bonington seems to link these English pictures with the 
French, which commence with one of Michel’s studies of the 
plain of Montmartre; a grave large-hearted picture, not with- 


out a certain tinge of geniality. The veteran, Harpignies, is 


represented by an unusually seductive moonlight scene, and 


another moonlight, on a Dutch canal, is a beautiful example 
of the mingled virility and delicacy of Jongkind’s art. A coast 
scene by Courbet serves to recall the stir of the realistic move- 
ment in France, while examples of Fromentin and Decamps 
stand witness to the fascination excited by the East. 

The two pictures of the latter eminently reveal him as a 
painter to the finger tips; the ‘Bazaars in Cairo,” with a large 
languor of poetic dreaminess, and the “Sunset,—'Tombs near 
Cairo,” in a fantastic vein of irrepressible caprice; both so 
subtle in their color and interplay of light and shade. The 
second picture shows him indeed a kindred spirit of Diaz, 
though the latter dared a step farther and conjured the real 
light on to his canvas. There are four specimens of his art in 
this Collection, all of them subjects selected for the oppor- 


( xiii ) 


INTRODUCTION 

tunity they afforded of a brilliant fantasy of color and light, 
and one of them a supremely fine example. The “Descent des 
Bohémiens” is a veritable masterpiece, the more captivating 
because it so spontaneously exemplifies the artist’s own genius; 
impregnated with the poetry of movement and color; joyously 
unconventional; triumphing in the glad, free exercise of an 
imagination to which life presents itself as a continual song, 
and the world as a paradise of glowing emotion. What a pro- 
found contrast is “A Plain in Berri—Sunset,” by his friend and 
father in art, Rousseau! Here a solemn monotony of gloom, 
awesome, poignant, fascinates, even as the other’s exuberance 
of joy and light. One recognizes in it the artist’s deep con- 
sciousness of the unfathomability of nature on which he ex- 
pended all the analytical faculties of a great and comprehend- 
ing mind. He strikes in it a note profoundly heart-searching 
in its pathos, as of a cry from a stricken soul; a note so full 
of moment that the picture is to be reckoned among his grand 
efforts. That he, too, could sing right resonantly one may know 
from the little “Sunday Twilight,” a first study for his “Ranz 
des Vaches.” 

Of that other singer of Barbizon, Corot, the sweet singer par 
excellence of the group, there are six examples, among which 
many will give the preference to “Lombardy Poplars.” It is 
an afternoon scene of quiet sunshine, lambent upon meadows, 
brook, and willows; an idyll of rural loveliness, genial, opulent, 
and peaceful. Scarcely less alluring, however, is “Paris seen 
from St. Cloud,” a canvas of infinite delicacy and tenderness.. 


( xiv ) 


INTRODUCTION 


~ Out of four landscapes by Daubigny shall I signal two, “Land- 


scape with Storks” and “River-bank, Spring,” leaving to your- 


self the preference for the moist, cool refreshment of the former 


or for the latter’s dainty, elusive sprightliness? Jules Dupré is 


also seen here in diverse moods: impetuously passionate in the 


Sunset”; solemnly reposeful in the “Twilight on the Seine”; 
large and bracing in “On the Cliff.” They are all worthy and 
characteristic; while the last, from the grand sweep of its fore- 
ground and perspective, no less than from the gracious so- 
briety of tone and the rhythmic balance of ensemble, is a singu- 


larly choice example. Just as large in feeling is the “Coast near 


Villiers,” by Troyon. It is a work, if I mistake not, antedating 


his visit to Holland and the subsequent prominence that he 
gave to cattle in his pictures. Accordingly, some may esteem it 
less; but if one has love for spaciousness and elemental sim- 
plicity in sea and sky and land, for the stir of gusty clouds 
and the smack of brine-laden atmosphere, and realizes how few 
painters can express the import of these qualities, the picture 
cannot fail to be mightily impressive. It proves that if Troyon 
had stopped short of his final development he would still have 
taken rank as one of the great masters of landscape. There is 
a handsome subject of poultry by Jacque, a creditable study 
of cattle by Van Marcke, and by George Inness “Evening, 
Medfield,” a picture into which a bull is introduced. The beast 
is none too good, but the landscape is sonorous in color, mel- 
low and luminous in its shadowed tones, and full of strong, 
deep, poetic feeling. | 
( xv ) 


INTRODUCTION 

Millet is variously represented by “Peasant Woman and 
Child,” an echo probably of his early days; by two single-figure 
paintings, “Coming from the Fountain” and “The Shepherd- 
ess,” and by a crayon drawing, “Gardeuse de Chévres en Au- 
_ vergne.” The former is similar, in reduced size, to the picture 
of the same subject in the Vanderbilt Collection, and, like “The 
Shepherdess,” is a notable example of his incomparable mastery 
in the delineation of gesture and of the minor key of pensive 
melancholy, with which he imbued his studies of the peasantry. 
Perhaps even in a higher degree the superlative excellence of 
his draughtsmanship is exhibited in the crayon drawing; for 
here there is naught to detract from the supremacy of the line, 
—so pungent, pregnant, and Greek-like in its pure simplicity. 
Another master of the line, Honoré Daumier, incisive caricatu- 
rist, grim as well as grotesque, is here represented by “A Prison 
Choir,” a painting of exceptional significance and force. 

Any review of a collection can scarcely fail to be colored by 
the personal idiosyncrasy of the writer. Nevertheless, while the 
visitor may reverse some of the preferences expressed, he will 
be likely to agree in the general estimate of this Collection — 
that it abounds with pictures wherein artistic qualities of a 
high order may be enjoyed. 


CHARLES H. CAFFIN 


( xvi ) 


T NIGHTS SALE 


FIRST NIGHTS SALE 
THURSDAY, JANUARY 8, 1903 


BEGINNING PROMPTLY AT HALF-PAST EIGHT O'CLOCK 


CATALOGUE 


e 


No. 1 
bo ; GUSTAVE PAUL DORE f 
MAN ON WOODEN LEGS Jus 


Tuis sepia sketch recalls the early success which Doré made in 
caricature, before he wandered into the historico-religious field. 
A broken-down soldier, with his back to us, stands looking over 
a stone battlement, which is likewise considerably the worse for 
wear. The figure has very much the appearance of a scarecrow. 
The plumed chapeau is cocked over to one side and the epaulets 
of the military coat dangle almost to the elbows, while the back 
is humped and two wooden stumps occupy the place of legs. 
-Meanwhile a huge cavalry sword swings from the lean waist. 


Signed at the lower left, G. Doré. Height, 9 inches ; width, 6 inches. 


(-x1x5) 


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THE WARREN COLLECTION 


No. 2 


BANCEL LAFARGE 


SURF AT NARRAGANSETT 
AGAINST a dull purple rock that rises out of tawny grass on 
the left, a wave has dashed with fine movement into a mass of 
bluish-white foam. The sea in the middle distance is gray blue, — 
beneath a warm, slaty sky. Painted in water-color. 


Height, 15 inches ; length, 21 inches. 


No. 8 


ALBERT, MOORE: 


A YOUNG girl bends her hed to the right, as she arranges a 
pin in her hair with one hand, and with the other picks up a 
pin from the couch on which she sits. The latter is upholstered 
in milky white, with delicate arabesques of dark gray. She has 
a pink rose in her blond hair, and wears a lemon-colored robe 


and shell-colored drapery, while a red locket is suspended from 


_ a string of pearls. A pink fan lies open on the floor and some 


yellow poppies are arranged in a jar, which stands upon a white, 
red, and black mat. The picture, which is painted in water- 
color, is exquisitely refined and delicate in feeling and in color; 
an example of Moore’s capricious union of Greek dignity and 
quietude with the soft harmonies of color of the Japanese. 


Height, 124 inches; midth, 84 inches. 


( xx ) 


| Ta | ie | | 
4 _ Sk i? G a 
~ BEACHED AT LOW TIDE 


_ Ar the end of a stretch of drab sand, just clear of the sea, a 
brown lugger has been beached. It has tawny sails drooping 


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TIGER IN LAIR Jt 


CATALOGUE 


No. 4 


' W. EK. NORTON 


from the spars, and the rudder is conspicuous with bars of red, 


white, and blue. A green cart is drawn up to the vessel’s side, 


and figures are busy near it. The picture, which is painted in 


water-color, is full of breeze and moisture. 


"Signed at the loner left, W. E. Norton. Height, 154 inches; width, 114 inches. 


No. 5 


ANTOINE LOUIS BARYE 


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Vi 
Dark gray rocks rear up on each side, leaving a space of lurid 


sky. In front of a lighter boulder in the centre a tiger sits in 
crouching position, the body in profile and the head facing to 
the front. A water-color. 


Signed at the lower right, Bary. Height, 94 inches ; length, 124 inches. 


From THE SALE of THE ArtTist’s STUDIO. 


Pi iw 
o ‘a 
From tHe American Art Association Cotiecrion, Aprit, 1892. fi f 7 A”. 


SMH 


(3X1) 


THE WARREN COLLECTION 


No. 6 
ANTOINE LOUIS BARYE 


STAG WALKING 

THE murky blue sky is streaked with whitish gray in bars over 
the horizon. Wooded hills undulate in the middle distance, 
and the foreground is covered with greenish-yellow grass, over 


which a stag is walking towards the left. Painted in water-color. 
Signed at the lower right, BARYE. Height, 9 inches ; length, 11 inches. 


From THE SALE oF THE ArrTIsT’s STUDIO. 


From THE AMERICAN ART ine wey ApriL, 1892. a SG 


No. 7 
MARIANO FORTUNY; Y a 


STREET SCENE 


A. WOMAN in the costume of an Italian peasant stands at the 
corner of a white house on the left, green-moulded by time. 
From it a rude arch springs across the narrow street to a dull 
buff building, from which a lantern swings by a long pole. The 
latter house is in shadow and throws a deep shade over the 
street, at the end of which is a flight of steps, leading to a 
dwelling. The sketch, which is in water-color, is full of quiet 
vivacity, exhibiting Fortuny’s perfect control of the medium. 


Signed at the lower right, Fortuny. Height, 10 inches ; nidth, 8 inches. 


(x11) 


. : 
YS 


REIS eo RC ps an AS I 5 AE AR I Nae ney arian Nyy ett che Me etied ENR NYA Lewl ore Dik Foe San 


FPS pO a oe CaP hy OE eo 


ST ee Be. a." | ele ‘| r afar a Pe hel To aes se 


CATALOGUE 


Nos At | 
FERDINAND VICTOR EUGENE DELACROIX , f\)- 


FIGHT BETWEEN LION AND TIGER - 
Tue lion, rearing upon his hind legs, one of them crushing 
down the tiger's tail, has wrapt his front paws round the body 

_ of his antagonist. The latter, rearing also, claws at the lion and 

| fastens his fangs into his shoulder. The fight is taking place in 

| _a stony spot bounded by bluish-gray mountains. An example 


ig in water-color. 


Signed at the lower right, Kue. DELAcRorx. Height, 92 inches ; nidth, 8 inches. 


From THE AMERICAN Arr AssoctaTIon CoLLEcTION, 1892. A 74 ye 
: A” Wr. Arno — 


—. No. 9 


On a curving shore where the waves lap in limpid rings on the 
pale violet sand, a fisherman has landed a jar. He kneels with 
arms extended and body recoiled with terror, as a thin smoke 
issues from the vessel, curls up, and expands like a water-spout, 
and then droops in the shape of a huge, inverted head. A water- 
color. | 


| Height, 84 inches ; width, 7 inches. 


( xxiii ) 


4 


f bi 


THE WARREN COLLECTION 


Nem, No. 10 


JOHN LAFARGE, N. A. 


A CUP OF COLD WATER 


> 2 
| : 
AGAINST a dull red background a figure, in pale green robe 


with flowing sleeves, is offering a cup to the lips of a fair-haired 
child. The latter stoops forward, attired in a blue drapery over 
a gown of greenish gold. A water-color. 


Signed at the upper left, J. L. F., ’88. Height, 44 inches ; nidth, 34 inches. 


DANCE ON THE BEACH, SAMOA 


Own a strip of yellow sunshine, that crosses the vivid green of 
the lawn, four girls stand in a row, draped from the waist to 
the knees. The one on the right is clapping her hands to the 
movements of the girl on the extreme left, who poises herself 
on one leg, holding the other by her hands at the knee. The 
other two are watching, as they wait their turn. At the back, a 
row of figures sits against a hedge of rich foliage. The scene, 
which is executed in water-color, is one of the incidents, beauti- 
fully described by the painter, in his “Diary of the South Seas.” 


No. 11 


y JOHN LAFARGE, N.A. 


Height, 83 inches ; length, 11 inches. 


(xiv) 


E 
i 
{ 
» 


ANGEL \\ Al M, 


CATALOGUE © 


No. 12 | 


JOHN LAFARGE, iy A: | 


Tue Angel is kneeling, with apie turned _ -quarters to the 
left; the hands crossed over the breast and the head uplifted. 
Her dove-hued wings and robe of pale golden lustre are seen 
against a greenish-blue background. Painted in water-color. 


Height, 9 inches; nidth, 7 inches. 


No. 13 
JOHN LAFARGE, ae | P ‘ 
| Di at 
ST. ELIZABETH \Se Ary J 
THE episode in the legend of St. Elizabeth of Hungary, re- 


called in this picture, is the occasion of her husband confronting 
her on one of her pious errands and demanding to’ see what she 
carries. She throws back the corner of her cloak and the food 
has turned to roses. The figure is standing on some grass, backed 
by trees and a gray hill. Her costume is a pale rose cloak over 
a white robe, that shows blue in the hollows of the folds. An 
example in water-color. 


Signed at the lower right, Lararce, ’87. Height, 92 inches ; width, 6 inches. 


(ZV) 


THE WARREN COLLECTION 


No. 14 


é | -ADOLF SCHREYER 


RETURN OF THE FORAGERS f- Vi Lute 
ALONG a road which winds over a snowy plain, a four-horse q 
sledge is ploughing, driven by two postilions. A soldier walks 
behind, and his comrade has halted before a wayside cross a 
little way back on the left. A dark sky lowers overhead. The 
picture is painted in water-color, and with much delicacy of 
tone and feeling for the dreary vastness of the scene. 


Signed at the lower left, Ap. SCHREYER. Height, 44 inches ; length, 64 inches. 


No. 15 


JOSE DOMINGO 


THE CARD PLAYERS ey De J): bbe 


BEsIDE the window on the right of an old-fashioned inn parlor 
two cavaliers sit playing cards. At the far end of the table a 
man with a pipe stoops over to watch the game, which has also 
absorbed the attention of the host, who lingers at the other end 
of the table with a jug in his hand. A fawn-colored, wire-haired 
greyhound stands beside him. A saddle and riding-gear lie in a 
heap on the floor, and behind the group is a plastered brick 
pier, supporting a wooden balcony on which hangs a crimson 
cloak. The tiny picture has a microscopic precision and dain- 
tiness of craftsmanship, not without a considerable sense of 


( xxvi ) 


TRE GM AaB Ny ie 


- CATALOGUE > 


i : | 
_ breadth, — qualities that distinguish the works of the “Spanish 
_ Meissonier.” 


5 ers at the lower right, Domino, 1880. Height, 74 inches ; nidth, 5 inches. 


aoa ee 
lia: From THE ALBERT SpENcER CoL.ection, 1888. Ae i g Ors emir say pnt 
a: | Cl xX + cc : 
| 
q No. 16 
a te, aes 4 
4 Ke LUDWIG KNAUS : 

: i 4 BA YOUNG in UY 


te oa In a meadow, with a little brown foliage to the right, a young 

_ Satyr and kid are dancing to each other. They seem to emu- 
id late each other’s actions, and their curving bodies, with some 
i _ differences of gesture, suggest a similarity of feeling. It is a 
_ clever little picture, excellently painted and delightfully naive 
in subject. 


| Signed at the lower left, L. Knaus. Height, 84 inches ; length, 103 inches. 


From tHe Mary J. Morcan CoLLEcTIon, 1886. MM. a J o Res Av W. OaSX. 


i : ee » 
Fat ; 
g 


: No. 17 

Ei 

(s EMILE VAN MARCKE 
P) 


_ LANDSCAPE AND CATTLE 
A RED cow stands sideways in the foreground, facing to the 
ight and nosing down to a spring of water that reflects the 


( xxvii ) 
“WHT Ais mg Ct! 


. 


THE WARREN COLLECTION 


blue sky. Immediately back of the water is a white cow, front- 

ing us, to the right of which runs a little fence. The meadow 

behind them rises by gradual undulations, a brown cow appear- 

"a oy, ing in the middle distance and others further back below the 
a fy dip of the ground. The picture is a direct and forcible study of 
oe def cattle, the white cow being particularly admirable for the ren- 


ie Ht aa 
iis 


uw dering of the light on its rough coat. 


Signed at the lower right, EM. VaN Marcke. Height, 84 inches; length, 10} inches. 


Spr A (FEF 
Ve B52 J, A Se fe MP 


No. 18 | 
NICOLAS TOUSSAINT CHARLET 


A GRENADIER ee 


x ~ “CHARLET and Raffet,” wrote Biirger-Thoré in his review of 


i. ?” y the Salon of 1845, “are the two artists who best understand 
the representation of that almost vanished type, the trooper 
of the Empire; and after Gros they will assuredly endure as the 
principal historians of that warlike era.” 

The veteran of this picture stands at ease with his right hand 
held at his back and the left arm encircling his musket, which 
rests upon the ground, his thumb being tucked behind the 
strap of his cartouche box. His uniform of the Grenadiers con- 
sists of a blue coat with red epaulets, white vest, breeches and 
gaiters, and a dark busby with red plume. The immediate back- 
ground is a golden brown with an indication beyond of a gray 
sky, rolling over a low horizon. The study is full of character 
and beautiful in color and tone, details being omitted and yet 

( xxviii ) 
“ 


I a ran Gg i ME Epe Yee ho Pa ae ; 
“4 awk tec < fF : ay 
« « y Ale 


CATALOGUE 


“readily suggested ; a study, in fact, of real military life in the 
0 open air as By ussed to cabinet productions of the studio. 


Ty 
Signed at the aay lef, Bere. Height, 9} inches; width, 7 inches. 


: q "From THE Watt-Brown ieee 1886, Aid ad 6 - 4A 3) ae 


a No. 19 fe 
- de CHARLES BARGUE / 


VAL Rtg Maca = 
| £30 wv” 


_ TURKISH SENT EL 


“aig an angle of plaster-covered masonry a soldier lounges, tle 

his left shoulder against the wall and his right hand resting on 
| ig his hip. His uniform consists of a white head-dress; a jacket of 
_ very pale pink silk, tucked into an ivory-colored sash; white 
linen skirt with full plaits; dull crimson stockings, and drab 
shoes. He carries a simitar in his belt and a long musket across 
his back. To the right is a raised recess in which hangs an Ori- 
| ental rug and lie a tall brass hookah and a pile of folded fabrics 
| Bot various colors. On the flagged floor are a brass and a bronze 


_ pot. The works of this distinguished painter of Oriental genre 
_ are few in number, and the present is an excellent example of 
his brilliant craftsmanship and delicate sense of color. 


Signed at the lower right, BarGuE, ’77. Height, 103 inches ; width, 8 inches. 


From Messrs. Arvotp & Tripp, Paris, 1898. v4 - f bp.f 6 & 


‘dt - : - 1/ aoe Ns } 


sre 


THE WARREN COLLECTION 


No. 20 
JEAN nee HENNER 


LA PLEUREUSE 


A WOMAN is lying prone in a dark cave, a. re a glint of 


\ 


pale blue light pierces at the right top corner. She is nude ex- | 


cept that a portion of the turquoise drapery which is under 
her covers her thigh. Golden-red hair falls over her arms, 
which support and hide her face. 


Signed at the lower right, HENNER. Height, 74 inches ; length, 94 inches. 


No. 21 


ALEXANDRE Say DECAMPS 


BAZAARS IN CAIRO ~ V4 4 | ated / (GP: j 

THE foreground is a paved court or street with a fruit-stall 
upon the right, arranged against a house which has a wooden 
balcony. At the back, extending to the left, is a sort of loggia, 
approached by steps and supported by a large column. Above 
its roof the tops of houses show against the blue sky, and 
through an arch at the back of it appears a street with awnings 
slung across it. Figures are congregated in the left of the loggia, 
others are seated at the’base of the column, and two stand in 
front of the stall, behind which the merchant sits. There is a 
pool in the left of the foreground. The latter is in shadow, as 
also. are the building and stall upon the right and the under 


( xxx ) 


CATALOGUE 


x part of the loggia, while the base of the column is the focus 
point of special light. The scheme of chiaroscuro is most deli- 
NE cately artistic, full of imagination and subtle device; and the 
__ whole picture is executed with a lightness of touch and elegant 
ie play of color that render it a very charming example of this 


Pg . e ° fi : j : ; 

____ fascinating painter. a / j | U y 

4. Signed at the lower right, D. C. Height, 104 inches ; width, 9 inches. 
On 

g From THE Mary J. Morean Co tection, 1886. Arid 6 3 oe ch” W. wmn5XK. 
Gy . oe No. 22 


Mba “& RUGENE pees 


THE SMOKERS | ¥. y hn | 


THE groups of figures animate an Oriental street that is swel- 
tering in the fervor of noontide, under a brilliant blue sky. The 
_ building on the left, which has a frieze of enamelled tiles, is in 
shadow; and across the middle distance runs a low wall, with 
houses beyond upon the left, yellowish white in the sunshine, 
which floods with lemon and orange the blue hills on the hori- 
zon. Three figures sit smoking on the left of the foreground, 
and to the right an old man, conspicuous by a scarlet vest, ad- 
| vances towards a youth in a yellow jacket buttoned over white 
____ trousers, who stands with a long pipe in his mouth. In an angle 
of the wall on the right a boy with a red fez lounges by a Jar 
which stands on a shelf, and another boy lies near with his back 
against the masonry. Some figures also appear beyond the low 4] 
wall. In the deliberate elegance of the composition, taking on 


( xxx ) ih 


THE WARREN COLLECTION 


a little freaksomeness from the scene, one has a characteristic 
example of Fromentin’s refined Parisian culture, coquetting 
with the sensuous savagery of the East. 


Signed at lower right, EuciNE FroMENTIN, dated ’66. 
Height, 134 inches ; nidth, 10 inches. 


From Messrs. Arnotp & Tripp, Paris, 1890. AY? "2s % 6 | 
ee Aig Ah phe : 


No. 23 


> ef THE water in the foreground is gray and pale ex barred and 
blurred by the dark reflections of small trees that grow close 
together on its edge. Further back in the landscape lies an open 
sward, yellow in the light, and beyond it again a belt of trees. 
Near the right bank of the water appears a figure in a punt. 
The picture is sketchy but exceedingly fine in color. 


Signed at the lower right, W. M.H.in monogram. Height, 10 inches ; length, 16 inches. 


No. 24 


” sm NARCISSE VIRGILE DIAZ DE LA PENA 


: | : ve GIRL AND PET Ze Pe Nertedh, 
’ ee W 


A CHILD is seated under a ith flowers in her lap and 
hand, and a white kid at her left side. She wears a pink ribbon 
in her auburn hair and a white dress of sumptuous texture, with 
a blue drapery passing around her waist and arms and floating 


(Gxxxi1) 


ce WILLIAM MORRIS HUNT 
. ay 
chs WOOD INTERIOR, ARTICHOKE RI | 


7 
> 


CATALOGUE 


| . F; behind. The foliage of the tree is a beautiful medley of green, 
; _ salmon, and golden tones. Indeed the color throughout is ex- 
quisitely choice, the subject being treated as an opportunity 
_for securing a bouquet of luxurious tone and texture. 


| _ Signed at the lower left, N. Sense 66. Height, 154 inches: width, 12 inches. 
a7 : ie: é a }. oe f vi ry 5 
rs ROM THE aad a Y ya Cae Epo, Set i 


No. 25 


. JEAN. aa OIS MILLET 
aur Nhe’ e + Te fons 


| COMING FROM THE FOUNTAIN 

__ Tuis picture is a smaller version of the same subject in the 
Vanderbilt Collection, now on exhibition at the Metropolitan 
Museum of Arts, New York. The woman is carrying two 
buckets, her arms hanging straight down, with the elbows 
close to the hips. She wears a rose-colored cloth round her 
head, a buff homespun jersey, showing the short sleeves of her 
chemise, and a blue skirt. The background of the figure is a 
wall overgrown with greenery, at the end of which appears the 


square opening of a fountain. This was a subject on which 
Millet expended much study, striving, as he says in a letter to 
a friend, to represent a woman simply and naturally perform- 
ing one of her household duties; with not too much or too 
little evidence of muscular strain in the face or figure, but with 
just such amount as the exertion would demand. 


Signed at the lower right, J. F. Mi.xet. Height, 154 inches ; nidth, 12 wches. 


' From tHe Aaron Hearty Cottecrion, 1891. ¢ It 
” 


THE WARREN COLLECTION 


No. 26 | a 


; 4,0 0 JEAN BAPTISTE CAMILLE COROT 


be GRAY MORNING Ve 0 pty» 


THE right half of the composition is filled with a clump of 
trees, conspicuous among which is a white stem, while a pol- 
lard willow projects from the edge. The mass of gray-green 
foliage is softly delineated against the sky, and beneath its 
shadow appear two figures, one of which wears a white cap. A 
little way back from the gray grassy foreground, on the left, is 
a small pond, reflecting the pale light, beyond which are visible | 
two pink roofs and a little church spire. Distant mountains 
show faintly pink beneath a vapory horizon in which float 
fleecy clouds. Above these is a break of blue sky, canopied by 


a whitish-gray cloud, still dark upon its upper surface. In the 
evanescent tenderness of the color-scheme the awakening fresh- 


ness of early morning is beautifully expressed. 


| Signed at the lower left, Corot. Height, 124 inches ; midth, 94 inches. 


No. 27 


y. THEODORE ROUSSEAU 


| SUNSET LANDSCAPE Wis fe Li, : 


# “ 
e ece e ‘é Ce Ecol 
Conspicuous in the composition is a still, reedy pool, bounde 


in the foreground by a low strip of herbage, from which a road 
leads to the right, and then curves round the water and follows 


(“Xxx1V*) 


a ong the opposite bank. Here, the foliage, punctuated by a 
rge t Bshy tree and some gusta ones, is DE darkest olive 


is | cd with warm vaporous clouds, above which are mottles 

fad streaks of dark gray, with a delicate gray-blue space over- 
h head. Inexpressibly solemn is the quietude of the scene, and 
full of emotional suggestion the harmonious mingling of so- 
‘norous depth and tender evanescence. 


_* at the lower right, Tu. Rousseau. Height, 10 inches ere 194 inches. 


Durrt rarely missed His evening rae and loved especially to 
* the effects of turbulent sunsets. The one depicted here 
* _ is such as follows after storm, when the clouds, still heavy with 
- rain, have been torn into ragged shreds and are penetrated by 
g the rosy glow of the sun which sinks in a yellow glare. These 
tones are reflected in a dark pool in the foreground, to the left 
| of which are some boulders that catch the light. On the right 
a bank stands a clump of oak trees, from which cows are de-— 
_ scending to drink. It is a picture of intense feeling, painted 
_ with a heavy impasto that is rather opaque in the shadows, 
= but produces on the whole a wild harmony, full of grand im- 


ss pressiveness. fA, pean r te it ae 


i in a eS Na a go ce pe 


Signed at the lower left, Jutes Dupre. Height, 174 inches ; length, 254 inches. 


tm haw mf (x (ee eV) “ 


OG eet eae ants 


= —~ a i Doe ne 


THE WARREN COLLECTION 


No. 29 


4 Kyo 
CHARLES FRANCOIS. ‘DAUBIGNY 


c\744l 
fi - RIVER- BANK, SPRING +" 

Y LP. ETWEEN meadows, fledged with the tender retie \ se | 
the river spreads itself through the foreground, interspersed 


with tufts of grass and water-plants. A flock of geese is de- 
scending the bank on the right, at the top of which appear the i 
brown roof and red chimney of a cottage, sheltered by a clump 
of trees with a willow on its margin. Two birches of exqui- 
site delicacy grow upon the left bank and at the end of the 
meadow is a row of white and red cottages. The sky, a whitish 
gray, with some spaces of blue in the upper region, is filled 
with soft, cool light, and the color-scheme is expressive of fresh 


and virginal fragrance. re nw. 18 91 -&2 A. EK 
A tf. Fy. ‘Wn SRK . 
Signed at the lower left, DauBieny. Height, 10 inches ; length, 174 inches. 


bane Rat de Maret 660g At. 


From tHe Epwarps Cotiection, Paris. 


ty are re From THE TRETIAKOFF CoLLEctTiIon, Moscow. a 3 s 4 
At. & From tHE Mapame AnceEto Cotiecrion, Paris. G ? }l AS? | 


;. h From THE Por Descuamps CoLLecTion, Paris. aX: Sr tr i, x ee 
aT by tld. Ub. 1890 At 


het angst BAN re iil one: Salo VAL aRR dtp IRIS I ge ae eat ay naan Foe hee bn Tere 


\) 
~ 
So 
Ree aan al 


No. 30 
\ ) FERDINAND VICTOR EUGENE DELACROIX 
Tt hat) bd 
\\aae THE FLAGELLATION WY Ohrw Hittite 


a Wirtu hands lashed behind and ee to a ring in a low column, 
a on the right of the composition, the figure of the Ioendeg bows 


tO Wiles ion) 
met § 


CATALOGUE 


: : over to the left in profile, the sole of the right foot resting 
‘oi against the base of the column. The light streams upon. His 
back and shoulders and upon the drab wall on the right of the 
background, while an angle in the wall produces a dark olive 
shadow behind the head, from which the golden-brown hair 
_ tumbles in confusion. The face is drawn with agony and the 
fingers constricted over the upturned palms, while the attitude 
____ Of the body is expressive of profound resignation: a mingling 
| 4 of pain, horror, and pathos such as often characterized Dela- 
— eroix’s poetic imagination. A dark blue drapery loosely wraps 
the loins, and a crimson mantle lies upon the floor. The color- 
scheme is at once sensuous and inspiring, and the chiaroscuro 
mingles a delicate beauty with a feeling of deep awe. 


Signed at lower right, Euctne Detacroix. Height, 134 inches ; width, 104 inches. 


Vo. j LS, Ce 
MM TO, oe 


“i An XK LOUIS GALLAIT 

fag ghee : 

A YOUNG MOTHER 

| TAts%mall picture by the painter of the vast CANVAS, “ A bdica- 
tion of Charles V.,” which lifted Gallait to the ‘first rank of the 


Sea Ere ee en 


Ie historical painters of the day, represents a young mother nurs- 
| _ ing her baby. The latter is nude and sits upon the mother’s 
left arm, with its feet'close together on her lap and its arms 


nestling up to her neck. The lady is dressed in a white robe, 


: falling loosely from the shoulders, where she holds it with her 
___ left hand. She is seated on a sofa against a yellow cushion, 


‘near which, on a greenish-gray one, reclines a black and white 


Ei ( xxxvil ) 


> 


) yo HUNTING DOGS 


THE WARREN COLLECTION 


long-haired terrier. On her right is a delicate spray of greenery 
with pink flowers, showing against the blue sky. 


Signed at the lower centre, Louis GaLLaiT, 1869. Height, 104 inches ; midth, 8 inches. 


From THE Mary J. Morean Co.tecrion, 1 ~ 
Vous? 


Ae jf ~ AP 


No. 32 


NARCISSE VIRGILE DIAZ DE LA PENA 


In the foreground of a cyan bondereie I Ahe distance by 
trees, are grouped five rough-coated dogs, the one lying in front 
being of white and buff color. On the left of the composition 
are two oak stems, the foliage of which fills in the top of the 


picture. A of J 


Signed at the lower left, N. Diaz. Height, 94 inches ; length, 13 inches. 


- 


From THE Her 10. pK XL York, 1880. bs ro - ( c 


]°-0! sa feX Ce 0 


No. 33 


A LITTLE boy is seated on a high stoo Mat Ae oot O 
walled room, which is hung with caps and overcoats. With his 
right hand thrust into the pocket of his suit of blue overalls and 


((XxxViit)) 


EASTMAN JOHNSON, N. Eb | 
THE CULPRIT My j 
Ke rab- ci 


i 4 
_ 4 er ’ a oe eee — 
AME eR se ARIE A Re 3 A meth poe oe ner Ee See eae 


renee er 


oa, 


SRP Le oc. on ele ee ee Le ate 


Stun wa Seah - 


CATALOGUE 


the left held to his mouth, he looks out of the corners of his 
eye res, with an expression of demure rebelliousness. A dog-eared 

ok has fallen to the floor. The little picture is full of char- 
acter, skilfully drawn, and charming in tone. 


“Signed at the lower right, Eastman Jounson, 1867. Height, 11} inches ; width, 9 inches. 


From THE GeorceE I. Sentry Cottecrion, 1891. 


oon urXxK : 


No. 34 


Yi ANTON MAUVE 


DA DONKEY stands harnessed to a dull blue cart, the sunlight 

Bedening the brown of his coat and dyeing the meadow yellow. 

pry characteristic is the inertness of his attitude as he drowses 

in the warmth. Beyond the cart ‘a brownish-drab house shows 
4 # among the trees, and a further row of trees borders the meadow 
id iq in the distance. 


cu 


a Signed at the lower right, A. M. Height, 113 inches; length, 144 inches. 


No. 35 


MARIANO FORTUNY Y CARBO 
Pylititg 

ENTRANCE TO A CAVE 

An Arab in scarlet mantle stands before an almost black wall 
of rock, and at his side sits another in white. The former i is in 


( xxxix ) 


ls EVARISTE VITALE LUMI 


THE WARREN COLLECTION 


shadow, while a ray of light from the left illumines the latter's 
robe and falls in a slant across the sandy foreground. Behind 
the figures runs a dark angle of wall, apparently leading to the 
cave, and above it a peep of white buildings is visible against 
the blue sky. 


Signed at the lower right, Fortuny. Height, 10 inches ; nidth, 154 inches. 


LS fh 
NAIS 


From tHE Watt-Brown CoiEcrign, 1886. ~ ] 7 & 


SX - 


No. 36 v/, 


eek each EF CNR NO Sa tie elie gies linn Lh eee th ua 


Soret. 


TEUTONS CROSSING THE RHINE 

Two warriors, in the water up to their horses’ hocks, are near- 
ing the opposite bank. One of them, bare to the waist and clad 
below in tight blue breeches ornamented with red, his calves 


Bhp ‘siniiiiaieaiielaine inet 


bound with linen greaves, carries a spear and target in his left 
hand, and leans the other on the quarter of his chestnut horse, 
as he turns to speak to his comrade. The latter is riding a black 
horse. On the bank, which is dimly seen in the gathering twi- 
light, is a rough wooden dock with figures that show against 
the dark sky, overcast with clouds. The picture is a strong ex- 
ample of this painter, who made his reputation by his subjects 
of Goths and Barbarians. | 


Signed at the lower left, E. V. Lumrnais. Height, 124 inches; length, 16 inches. 


From THE Watt-Brown Co ttecrion, 1886. 2 Li] 


CATALOGUE 


_ 


Py. | Bie 
_ Gow Rt Spel 
a JOSEF ISRAELS 4 


“A COTTAGE MADONNA 7" 7 wee 
7 s a dim kitchen, with a floor of red tiles, a peasant woman 
B sits bending over her baby, as she dries its limbs. A faint light 
' pels on the figures from the right, caressing the woman’s white 
_ cap, her red bodice, partly covered with a pale mauve shawl, 
b 4 and the chubby form of the little one, which glistens, shell-pink, 
oC her blue apron. The figures, as usual in this artist’s pic- 
_ tures, are immersed in atmosphere, emerging gradually from 
_ the elusive dimness of the background. While a small example, 
4 it has the characteristic qualities of tender, wholesome senti- 
ment, and exquisitely subtle color. 


Signed at the lower left, Israxts. Height, 174 inches ; width, 134 inches. 


No. 38 
on, ee JONGKIND 


_ NEAR DORDRECHT 
q Water, shipping, and moonlight were favorite subjects with — 
Jongkind, and one finds them here, rendered in impressionistic 
manner, at once piquant and serious, broad and delicate. A full 
moon rides high in the pale blue heaven, encircled by creamy 
clouds and shreds of drab vapor. The light silvers the surface 
of the canal, throwing into deeper shadow the water beneath 

. (2x17) 


THE WARREN COLLECTION 


the shipping which lines the banks. On the right lies a barge 
with a man in it holding by his boat-hook to the bank, on which 
are a bushy tree and a windmill. Conspicuous on the left is a 
boat with one mast in which a man is handling an oar, while 
another stows the sail. Further back on this side some grayish- 
yellow trees lead towards a windmill, and in the extreme dis- 
tance a high wooden bridge crosses the water on three piers. 
The picturesqueness of the scene and the solemn witchery of 
moonlight are beautifully expressed. 


Signed at the lower right, Jonakinp, ’69. Height, 16 inches ; peck) 24 inches. 
——— 


From THE Rosert L. pay Bee CoLLEction, 1892. 7 Cb g 


ues fbr W- piper 


No. 39 


ARTHUR VON FERRARIS 


cae 


SCENE IN CAIRO An. L. foe 
OuTSIDE an open stall that is framed with an arch of blue wood ~ 
in a white plastered wall, a game of dominoes is in progress. 


On the left of the group an Egyptian, in a yellow silk robe, 


holds three pieces in the palm of one hand, while doubtfully 
poising the stem of his hookah in the other. Over him leans an 
old man, holding a large pipe. The other players are a Nubian 
and an Arab, the latter in light blue robe and a white turban 
with red crown. An old man in golden-brown costume sits look- 
ing on, and another face watches from the interior of the stall. 
A short distance back from the group a boy stands by a rough 
wooden cupboard, drinking from a jug. The composition is easy 
(ixcliis:) 


Signed at lomer Aaht. ArTuHUR Ferraris, Paris, 1892. 
a Height, 17 inches ; length, 21 inches. 


No. 40° 


V4 I, pith y FOXCROFT COLE 
; VIEW OF BOSTON COMMON 


‘= we the top of the ascent appear the dome of the State House 
and some houses on Beacon Street, catching a mellow. orange 
glow. The middle slopes present a hazy expanse of golden 

. mauve with a few bare elms on its front edge. A path sprinkled 

g with figures crosses the picture about one-third of its distance 
_ from the front, and upon the right of the foreground are dotted 
a some white gravestones. 


& “Signed at the lower right, J. Foxcrorr Cote. Height, 254 inches ; length, 314 inches. 


! e 
From tHe Memortat Exuisirion, Museum or Fine Arts, Boston, 1893. 
ar 


= 


Dam 
wa 


‘No. 41 


4 C Ab ‘4, GUSTAVE COURBET 


_ COAST VIEW 
Near the centre of the sandy foreground, strewn with stones, 
rises a small, isolated peak of rock, to the left of which is a re- 


ceding coast-line of bold cliffs, mellowed to a variety of rich 
Gexiili ) 


‘SUNSET,—TOMBS NEAR carRO © // Lh A 


THE WARREN COLLECTION 


browns, mantled atop with dull russet-green herbage. Round 
their bases lap the pale blue surf-lines of a smooth grayish-blue ~ 
sea, over which hangs a vaporous horizon of warm slaty hue. 
Above this is a layer of dull creamy clouds, billowing right 
across the sky, which, overhead, is a greeny blue, flecked with 
skeins of green and rosy tufts. The rocks have the grandeur, a 
little grim, of Courbet’s robust realism, and the hasty manner 
with which the upper sky is painted reminds one of his un- 
scrupulous impetuosity. 


Signed at the lower left, G. CourBET, ’72. Height, 17 inches ; length, 224 inches. 


From THE James L. Citacuorn Co.L.ection, 1877. WV rs 2 4 fh ans : 


No. 42 


ALEXANDRE GABRIEL DECAMPS | 


Tuis picture well illustrates the remark of Muther that De- 
camps was “the great charmeur, the master of pictorial caprice, 
who found his province in the East.” The composition is cu- 
rious; chosen evidently for the chance it presented, to one who 
was a painter first and foremost, of securing a fantasy of color 
and an enchanting labyrinth of light and shade. The fore- 
ground is filled with water, upon the opposite side of which a 
steep bank is retained by a stone wall. A figure in brown cloak 
sits on the edge of the masonry and near it stands a woman in 
white with a jar upon her head. Further, towards the centre, 
rise in succession three square shafts, upon the nearest one 
being grouped three figures, one of them standing silhouetted 
( xliv ) 


| GEORGE FULLER, A.N. Ay | 
THE LITTLE DUNCE ee 


a 


CATALOGUE 


against the hues of vermilion, ivory, and gray that streak the 
horizon. To the right of these structures are a few rock pines 
and a building among some further trees. The distance is com- 
posed of desert, with alternating strips of sand and herbage. 
The whole is a brilliant fanfare of ivory and golden browns, 
rich greens and vermilions. 


Signed at the lower left, Decamps. Height, 124 inches ; length, 244 inches. 


* 


No. 48 


A. CHILD, with a high conical cap of thin white paper over its 


- flaxen curls, holds a book open in its two hands. The head is 


slightly lowered, but the gaze of the eyes, misty in shade, is 
directed over the top edge of the book and fixed in vacancy. 
The dull blue tunic is buttoned close up to the neck and the 
background is of a dark olive brown. The light is concentrated 
on the face, the flesh-tints of ivory and carmine being lumi- 
nously golden. While slightly elfish in suggestion, the expres- 
sion of the face is yet tender and pathetic in its mingling of 
vacancy and unfathomed thought. The picture is a fair ex- 
ample of Fuller’s originality of style; of the heavy and some- 


what laborious method of painting, out of which he evolved a | 


deep resonance of tone, a mellowness of atmosphere, and an 
inexpressible mystery of pure and earnest sentiment. 


Signed at the lower left, G. F. Height, 21 inches ; nidth, 174 inches. 


From tHe Memoriat Exuisirion, Museum or Fine Arts, Boston, 1884. 


( xlv ) 


Wreed bec 


L py? ee 


) yorsEs IN STABLE (00 7272C}@%~ Are ee 
w _ 


~ with white, which receives the highest light; the other colors 


THE WARREN COLLECTION 


No. 44 


/} 4 
THEODORE GERICAULT KOGA 


THE picture represents the dim interior of a sta ith a row 
of six stalls; each occupied by a thoroughbred horse, three of 
which have blankets upon their backs. A conspicuous spot 
near the centre is afforded by the quarter of a gray, dappled 


being chestnut and brown, glowing in the warm, golden atmos- 
phere. 

Géricault has been described as the first eminent painter of 
horses, for which throughout his life he had a special predilec- 
tion. Also, he was among the first of the Romanticists, who 
were to liberate French painting from the plaster-of-Paris 
manner of the school of David. 


Height, 144 inches ; length, 18 inches. 


From THE Wati-Brown CoL.ection, 1886. Jv”. Lo oy 


f AKKK 
No. 45 


ELIHU VEDDER, N. A. 


IDEAL HEAD,—TITO #- 

THE olive-skinned face is shown in profile against a creamy 

white curtain that hangs in folds, a red biretta nestling among 

the bushy black curls. The eyes are large and languid and a 
( xlvi ) 


gar CATALOGUE 


+ Tight mustache droops over the corners of the sensuous mouth. 


: g A yellowish-green cloak is thrown across the breast, at which 
| 3 PY. point the figure is terminated by the coping of a stone parapet. 
a On the front of the latter. is incised the word “Tito,” and on 
ie ithe top lie a large signet ring and some cut and polished gems. 
| ‘The impetuous weakness of Romola’s lover is admirably de- 
| a _ picted, and the composition has the handsomeness of line and 
mass that distinguishes this painter’s work. : 


Signed at the lower right, V., 1886. Height, 21 inches ; width, 17 inches. 


No. 46 


|, EMILE LAMBINET 
WL, Y Us | 
LOCK’ON THE SEINE NEAR BOUGIVAL 
_ From a triangle of land on thé left a man is fishing. Across the 
water appears the lock, with a house among the poplars further 
back to the left of it. On the right bank, connected with the lock 
by asluice-gate, a cottage shows, surrounded by yellowish-brown 
_ trees. Ini the front of the water some ducks are swimming to 
the land. The scene, bathéd‘ir Guid sunshine, is delineated with 
a carefulness of manner that renders agreeably its intimate 


rural beauty. : Med. 


*. 


Signed at the lower left, Emite LamBinet, 1875. Height,20 inches ; length, 254 inches. 


ee 


= eae “a "5 n — rome . _—. — —- ~ = eS 
Se i = a oi : — re x a a eT a : —— a = —_— 
‘wie ees 2 mis ital he ee ota Senahd ea AN itt Lea eed 7a mime Ll Spec hay ea . “assailed iia ibid ine 
Per + > Dae SS ON oe eee a ere a =i ’ ¢ ha nee ; 
eAaiee ao et ioe rn ee ye Pe 2 co see a ee a as a] Fe ee ee _ 2 
z c ‘ . ma “ A ie. — — a eo = . Oh ge osc! bait Wns =. 
u - oot ; 2 4 7 Ae = pe SN 


( xlvii ) 


THE WARREN COLLECTION 


V ; wfc A, ‘ C é f \ \ 4 ri y 7 | 1 Hingis 
ry Biahis sa No. 47 

1" | ; a te a ° 
Lalor thy / PRLIX ZIEM 


LE CANAL DE CHIOGGIA 


SEEN beyond the stretch of water which reflects in deeper téne 
the blue of the sky, is the Piazzetta, with the Doge’s Palace on 
the right and a corner of the Royal Palace and the Campanile 
on the left, drowsing in the rose and iris vapor of the horizon. 
On the right of the foreground a boat with red furled sails and 
two figures in it is moored alongside some buildings, one of 
which catches the light, while the other, connected with it by 
a wall of red bricks, showing through the Th ae is In rk 


4 ,. 
<I fy Vip , P 
shadow. AN In, . Wid LKR - 
‘ 4 ; -~ 


WRon 


eight, 21 inches ; length, 31 id 


ATV 


Signed at the lowex left, Z1EM. 4 & ip 
NE bG. Romsey oD 


From THE GeorGE I. SeNEY COLLECTION, 


ee 


No. 48 


AUGUSTIN THEODULE RIBOT 


THE CHASTISEMENT fy ¥ 


PAINTED before he had devoted himself to subje¢ts immersed 


s 


in darkness, the picture yet exhibits Ribot’s characteristic pref- 

erence for a dimly-lighted interior. The scene is a drab-walled 

kitchen with a.large chopping-block of a darker hue to the 

right. A cook, in the white costume of his kind over black 

trousers, stands in the centre, with his left hand on his hip and a 
(Sxuriiss) 


Ae i CATALOGUE 


Brip held in his right. He is looking down at a tabby-cat, which, 
~ mounted on a stool with a piece of steak between his paws, is a 
- looking up with a snarl of mingled fight and terror. Near the 7 >| | 
q _ man’ s feet lie a basket and bluish-gray dish with a tongue upon A 
‘ ¥ it. The picture, painted with extraordinary dexterity, is charm- 
ng in its scheme of low-toned color, and full of the force which 
made Ribot one of the great painters of the century. | if 


a Si at the ne. ef a 1861. Height, 18 inches ; nidth, 15 inches. 


A, fy ; / No. 49 
| AFTER THE SHOWER | {50 


} _ Upon a brown, sandy road in the foreground a herd of five goats 

eis resting in charge of two women, one of whom is standing ; 
____ while the other sits. The road disappears at the back of a sandy 3 
a bank crowned with dark, stunted trees, that rises behind the VJ 
group. The landscape to the left stretches away in the long 

plain of Montmartre, crossed by bands of steely shadow and 

cold, yellow light. Over the horizon is a streak of white light, 

below dark gray driving clouds; the upper sky being filled with 

a large mass of white cumulus. In the contrasted coolness and 
mellowness of the color-scheme the fitful appearance of sun- , | 
shine between showers is truthfully rendered, and the picture, i | 
_ very pure in color, admirably represents this painter’s memo- | | 
rable rank in the history of modern landscape. 


on 25 inches; length, 304 inches. 


From THE Watt-Brown Cottecrion, 18 1886. 


vs Y 
£ 8 . AY oe 


ae 


ny 


THE WARREN COLLECTION 


ers 


HENRI HARPIGNIES 


*LETANG, CLAIR DE LUNE 


Tue foreground of sand, mottled with grass, gradually ascends, 
sloping to its highest point on the left. In the centre of the 
bank grow two pollard willows, through the profuse foliage of 
which glimmers the full moon. Its warm primrose reflection 
glistens upon a triangular pool of water, seen beyond the trees; 
and, in the distance, hills show faintly against the gray-blue 
sky. A man in blue blouse is passing along the path in the fore- 
ground. The scene is flooded with luminosity, and the union of 
silvery and deep low tones produces a harmony that is as sweet 


as it 1s serious. Ate h. Ab KKM, 


Signed at the lower left, H. Harpiantes,’98. Height, 194 inches ; length, 234 inches. 


From Messrs. Arnotp & Tripp, Paris. } 7 % ] 
ail ; 


No. 5h 
CHARLES EMILE JACQUE 


THE POULTRY YARD 


with a ladder on the a leading up to the chicken- 

the door of which stands ajar. On the same side of the picture, 

in the foreground, lies a big stone trough, against which a green 

glazed jar is resting. The centre of the group of fowls is a dark 
(ety) 


ie CATALOGUE 
QT ray ‘cock, with golden-brown feathers on the neck, and around 
h im the hens are scattered in an animated pattern of white, 
“Dlack, gray, buff, and other tints. They are painted with the 
thoroughness of knowledge that distinguishes this artist’s pic- 


tures of poultry. gle fe ve 


Sind at the lower left, Cu. Jacque, 1860. Ai ae 174 inches ; length, 254 inches. 


No. 52 


JEAN AUGUSTE DOMINIQUE INGRES 


a Re pINAL BIBBIENA ESPOUSING HIS NIECE 

RAPHAEL 
- _ Turis picture inctiates the hold which the Cinque-centists and 
_ particularly Raphael exercised over Ingres’s mind. The compo- 


Ss ition itself is reminiscent of Raphael’s “Sposalizio” in the Brera 
peey at Milan, except that the positions of Maria Bibbiena 
and Raphael, as compared with those of Mary and Joseph, are 
reversed. The Cardinal’s head is copied from the portrait of 
him, once attributed to Raphael, in the Pitti Gallery. The head 

of Raphael is an adaptation of that of the “Violin Player” in 
- the Sciarra Palace, with the addition of the velvet biretta worn 
by the beautiful youth of the Louvre, for a long time believed 

a to be a portrait of Raphael himself. 
--' The Cardinal occupies the centre of the composition, lifting 
_ the hand of Raphael, who stands on the left with his back 
r. partly to the spectator. At the same time he extends his left 
F hand towards Maria Bibbiena, who stands on the right with 
her hands crossed over her waist and her eyes fixed on the floor. 

aa) 


rs 


eg 


THE WARREN COLLECTION 


Behind the scarlet cassock of the ecclesiastic is a table with ~ 


dull red cloth, and a portiére of similar color hangs over a door- 
way in the background, where a page stands in shadow watch- 
ing the ceremony. The lady’s costume is of plum-colored velvet, 
while Raphael’s tunic is of dark green, edged round the neck 
with brown fur. The drawing throughout is precise and firm, 
the hands being rendered with special distinction, and the whole 
picture is elaborated with the severe propriety characteristic of 
this famous Academician. 

It was painted for Queen Caroline of Naples, sister of Napo- 
leon and wife of Murat, and after the fall of that family passed 
into the collection of the Duke of Salerno. Later it became 
the property of M. Tabourier, Paris. 


Signed at the lower left, INGREs. Height, 23 inches ; nidth, 18 inches. 


No. 58 


EUGENE FROMENTIN 


THE ESCAPE a Mae Ltete 

Urerne his horse out of the edge of a river, an Arab is mak- 
ing for the desert, over which the sun is sinking. Behind the 
saddle clings another man with his arms round the rider’s black- 
cloaked shoulders. He is turning back an anxious face, sur- 
rounded with dark tangled hair, and his meagre tunic of dull 
red material leaves his legs and one shoulder exposed. It is a 
spirited and handsome example of Fromentin’s Oriental sub- 


jects. ie , \ a ; a Oneatly 


Signed at the lower left, Kua. FRoMENTIN. Height, 25 inches ; nidth, 21 inches. 
C111) 


aa pe Batic) = Ce ihn ea cS are orate Re Lat at 


rns, eg RED 


Sali og ti RARE i ee LE o 


iY an? 2 P - es betel ‘aie ae é 4 ye @r-." .f eee & 2 

C= oe ae ee tana Ad ites * Lae E . . Pi oe +4 78 ee Te — me 

ray Ge, : at ae ts P| iY 7 way = eas ee, . P4 5 ae ¢ “ Mee ern iy 
é . J , . , 


CATALOGUE 


7, No. 54 


. JZ mat J. FOXCROFT COLE 


7 VIEW NEAR PROVIDENCE 


_ From a stretch of pasture in the foreground, mellowed with 
| Z evening light, the view extends across a sheet of water to the 
| __ city in the distance. The water is cut into by a wedge of land 
which projects from a wooded hill on the right. In the fore- 
ground, on the same side of the composition, stands a row of 


trees, in three sets, of three, two, and one, respectively. On the 
s left are three smaller trees near a little brook, which crosses 
| the meadow from the front. Along the edge of the sheet of 
__ water moves an ox-wagon, loaded with hay. 


Signed at lower right, J. Foxcrort Cote, 1879. 
Height, 174 inches ; length, 254 inches. 


° No, 55 i pew 


JEAN LEON ay ‘ 


Piéc00 


|\aa0 * ¥ 


LEMINENCE GRISE 
_ Tue scene is in the old Palais Cardinal, ne she Palais Royal, 
and the cynosure, the Capuchin Friar, “Father Joseph,” the 
secretary and confidant of the Cardinal-minister, Richelieu. 
He stands at the head of the first flight of the grand staircase, 
which a number of sumptuously dressed courtiers are ascending 
on their way to the Minister’s levee. Keeping close to the 
balustrade on which is enscrolled the initials of the great man, 


( liii ) 


i he i 7” 


THE WARREN COLLECTION 


they make profound obeisance to his alter ego, eying him 
with diverse expressions of suspicion, fear, dislike, and subser- 
vience. With his back to a magnificent wall-hanging, edged 
with gold and gray and emblazoned with the arms of the Car- 


* dinal-duke, —three chevrons gules on a gray field, —“‘the Cardi- 
ynal in Gray,” as the wits of the time called him, stands with 


military erectness, his strong, lean head bent towards a brevi- 
ary, which he holds near his face. The staircase branches into 
two flights, opening upon corridors, and on the left one a figure 
leans over the balustrade with a gesture of anxious curiosity. 
At the foot of the staircase on the left, between the newel-post 
and an enormous column, a halberdier stands on duty. Some 
splashes of light on the opposite side of the pavement help to 
balance the brilliant hues of the winding line of courtiers. 

This picture, exhibited at the Salon of 1874, and awarded a 
medal of honor at the Universal Exposition of 1878, is one of 
Géréme’s masterpieces; learnedly composed, scrupulously exact 
in detail and abounding in the shrewdest characterization. 


Signed at the lower right, J. L. Giréme. Height, 38 inches ; length, 51 inches. 
From tHe James H. Sressins Coriecrion, 1889. 4), cy NS - 


EXHIBITED aT THE GuILDHALL Exuisition or Frencu ‘Art, Lonpon, 1898. 


No. 56 


JULES DUPRE 


ON THE CLIFF pf | jas VT hy 


In the foreground of this very notable picture lies a hollow, — 


sprinkled with tufts of grass, on each side of which is a sand- 
ONE) 


‘ 


ae yee er eg See ce : 
ee ee ly Rare pe 
i? Wer a) Lame igt: 
v ‘ 


> 


ee, 


— CATALOGUE | 

dune. The one upon the right basks in the sunlight and on its 
top sits a woman in a scarlet skirt with a black dog by her side. 
_ The opposite one rises more gradually in shadow, with an iron- 
7” gray horse and a brown and a white cow upon its crest, and two 
other cows lower down on the slope. Beyond the dip of the 
_ two ascents appears a patch of blue-gray water, ruffled by the 
_ breeze and, in the distance, bounded by a spit of pale green 
cliffs. Grand volumes of cloud, impregnated with light, sail 
4 _ over the horizon, and above them is spacious blue, flecked with 
Zz white. The picture is a noble example of the master; large in 
e conception, full of braciness, treated with firm breadth and yet 
infinitely delicate in tone. | 
. | 
| | a : Signed at the lower left, JuLEs Dupre. Height, 314 inches ; length, 393 inches. 


| 


No. 57 


JOHN LAFARGE, N. A. 


| 4 THE WISE VIRGIN 

= THE figure is represented standing in a doorway, her lamp shed- 
ding a greenish flare against the deep blue of the sky beyond. 
Over her rich green robe she is swathed in white drapery, one 
end of which falls over the left arm, that is carried at the waist. 
Under the fitful light the folds of the fabric reflect innumerable 
varieties of green and gray, discriminated and blended with 
admirable subtlety. A water-color. 


Height, 54 inches ; width, 30 inches. 


ll 


” ALUNTING SCENE Kp. fp . a fu 


_ A BARE-FOOTED peasant girl, knitting a red stocking, is seated 


THE WARREN COLLECTION 


No. 58 


GEORGE INNESS, JR., N. A. 


Near the centre of the con neeinee the hounds ar bi mn 4 
a pack around the Whip, a few having straggled away towards 
the left, to a bunch of bushes nearer the front. Among the trees 
appear the huntsmen in scarlet, conspicuous on the left bemg 
one on a white horse who is riding away from the front. 


Signed at lower right, GzorcE InnEss, JR., 1881. 
Height, 294 inches ; length, 444 inches. 


No. 59 
JULES ADOLPHE BRETON 


BRITTANY PEASANT 


on the trunk of an apple tree, which grows low along the grass. 
Her costume consists of a white cap and kerchief, and a dark 
slaty-blue skirt with an apron of brown sacking. Her figure is 
in shadow, but on the meadow behind her lies a slant of yellow 
sunshine, which also reaches some trees in the distance. The 


picture is a sweetly serious study in the artist’s well-known 
poetic vein. 7 / DA | 


Signed at the lower right, JuLEs Breton, 1870. Height, 63 inches ; nidth, 494 inches. 


i 
4 
4 
op 
n 
= 
= 


‘NI 


ee 


SECOND NIGHT'S SALE 
ss FRIDAY, JANUARY 9, 1903 


"BEGINNING PROMPTLY AT HALF-PAST EIGHT O'CLOCK 


} wo a 
_ on 


No. 60 


“ A. PASCUTTI : ae 


te DUET | ‘ 


On a ‘sofa which has a high back, upholstered with tapestry, 
‘reclines a lady in a costume of salmon-pink. She leans upon her 
let | t elbow and with her right hand holds a sheet of music in 


front of a . girl, who sits upon the right, playing a guitar. 


i le é 


From THE Ninecs L. Pan Be ETON, 1877. WW 30 


| base ae 
No. 61 


A Cf. Fi ‘i NARCISSE BERCHERE 


Pins 


“THE WALLS OF JERUSALEM 


cA FEW figures are sprinkled on the right of the foreground, 
which i is covered with hot dust, where flakes of light are inter- 
- spersed with violet shadows. Other figures are sitting or walk- 
_ing under the grove of dark olives, which ‘stretches across the 
middle distance. Beyond, appear the walls of the city, cream 
and pink in the sunlight, with a single date-palm and a slender 


_ minaret showing above them. 
| 
Signed at the lower left, BERCHERE. Height, 8 inches ; length, 104 inches. 


i, ; C71ik2) 


Signed at the ae right, A. Pascurtt. Height, 6 inches ; length, 8 inches. 


THE WARREN COLLECTION 


No. 62 


RICHARD PARKES BONINGTON 


: } er, ¥ | : 
nitisipn SY? : Lhrvrey 


THE graciousness of an art, his love of simple natu 


and elegant dexterity of technique, are well represented in this 
landscape. A smoothly sloping hill rises from left to right of 
the composition, divided by hedges into spaces of bluish-green 
pasture and yellow harvest-field; a windmill on the summit 
showing faintly against a gray sky, impregnated with cream 
and flecked with tufts of tawny cloud. Two brown elms stand 
on the right of the foreground, in the centre of which is a white 
cow, near to a woman in a crimson petticoat. Two other cows 
appear to the right and some figures upon the left, the latter 
being traversed by a streak of yellow light, beyond which stands _ 
a little eminence covered with a castle-like structure. The tone 
of the picture is exquisitely delicate, and the details have a — : 
piquant trimness that yet does not interfere with the pra 
and unity of the impression. 


Signed at the lower right, R. P. B. Height, 7 inches ; length, 15 inches. 


me ¢ A : No. 63 x lta wl. y 


CHARLES LANDSEER, R.A. 


THE LITTLE ACTRESS 

THE subject of this picture, which was formerly in the Charles 

Romilly Collection and was exhibited at the Royal Academy 
( Ix ) 


CATALOGUE 
Exhibition of Old Masters in 1874, is Lady Rachel Russell, 


| granddaughter of the Duchess of Bedford. 


Load 


| A dainty little lady in mid-eighteenth-century costume is 
; ; represented, standing against a drab background with her hands 
on the crutch of a black walking-cane. A bow of peacock-blue 
ribbon adds an archness to the simplicity of the white mob cap, 


which is fastened under the chin by frilled ends. A black lace 


‘ fichu encircles her shoulders and falls over her white stomacher, 


hanging low down upon the skirt. The latter is of old-gold silk 


in puffy folds, with full panniers of faded rose and gray stripes. 
The picture is a a | el of the art of Sir Edwin’ S 


Rider brother. Ke Bived ey 4 bh, : om is pf: 
_ Signed at the lower left. . ht, 84 ee dth, 104 inches. 
} a Hel BAL p16 7 if 
‘oa @ 
; No. 64 


EUGENE FROMENTIN 


ARABS AT THE FOUNTAIN a | 


A party of Arabs has halted in a pleasant green spot, bordered 
by luxuriant trees. The little spring of water is on the right of 
the foreground, and near it, with his back to us, sits a man in 
black cloak and red head-dress on a chestnut horse. 'T'wo figures 
are reclining on the left, one of which holds a horse by its 
bridle. Other figures appear in the distance under the trees 
and in the open glade. The sky is brilliantly blue, with puffs of 


_ white cloud. y¥h/ Av. kK * 


, Signed at the lower left, KuGENE oy ee eed cat inches ; nidth, 10} inches. 


( 1x1) 


From THE ALBERT SPENCER COLLECTION, 1879. i epi ave t. Bo tee ted 


Hire 


(A 


ak 


Ra a a 
—— Beatties 


OPEN EST 


THE WARREN COLLECTION 


No. 65 


cO” JOHN LAFARGE, N. A. 
Ly Ae 


¢ é 
) © oxp House, NEWPORT Por 


D aeeal 


THE main feature of the composition Is a gambrel- roofed ho 
whose warm drab end with two windows shows above a wall in 
the foreground. There is a dormer window in the slaty-colored 
roof, which is topped by a red brick chimney. To the right are 
a tree and more distant houses, and a white spire showing 
against a pale greeny sky, streaked with love ay and sur- 
mounted by a space of blue. 


Height, 103 inches ; nidth, 9 inches. 


No. 66 


THOMAS GAINSBOROUGH, R. A. 


dies 0° LANDSC Syst ot a jo f fo ial ‘ ¥ J 


On a green bank at the left oo a composition is an Pit 


woman whose white kerchief catches the light, which strikes 
also upon a tree-trunk behind her. A man with his cap in his 
hand stands in front of her and beside him sits a third fig- 
ure. Behind the group spreads a bush of yellowish-red foliage, 
backed by greenery. A dusty road passing below the bank on 
the right, glows warm in the sunlight. In the middle distance, 
undulating meadows reach to a white cottage with brown roof, 
beyond which stretches a border of trees. Over the horizon 
lowers a big, slaty cloud, brightly white upon its upper surface, 
( lxii ) 


CATALOGUE ‘Nem 
é - where it meets an opening of pale blue sky, which again Is sur- | 
_ mounted by a threatening mass. 

@ In its mellow tones and suggestion of gracious repose, the 
_ picture is a happy example of Gainsborough’s way of studying 
nature through the medium of a tender, dreamy temperament. 


Height, 14 inches ; nidth, 114 inches. 


a 
+ 


yy Bes 67 


ene ie DIAZ DE LA PENA gQ ye ) 


BOHEMIANS 


THREE gaily-dressed girls walk abreast, accompanied by two : 2 
King Charles spaniels.. The middle one wears a scarlet jacket- | | 
body and a head-dress of white drapery, studded with jewels. 

Her companion to the left, carrying a basket of fruit, is clad 

- inarose-colored skirt and blue bodice with white sleeves, while 
the third is dressed in white with pink bows in her fair hair. 
Some trees on the right of the picture and some rocks on the 
opposite side are mellowed by the warm sunlight. 


Signed at the lower left, N. Diaz. , . ) Height, 94 inches ; length, 13 inches. 


From tue Coiiection or M. Epovarp Anprf&, Paris. y \ i 


ys 0 


( xiii ) 


THE WARREN COLLECTION 


No. 68 


JOHN LAFARGE, N. A. 


AFTERGLOW B J/ A Jf, LA Ath? 
Tue foreground of rolling downs, golden green in hue, forms a 
cleft through which appears a glimpse of the sea, of the color 
of wine and water. The sky is a faint blue, skeined with wisps 
of white and pink. A splendid mellowness of color distinguishes 
the whole composition. 


Signed at the lower left, Lararce, 1869. Height, 132 inches ; nidth, 12 inches. 


No. 69 


CHARLES FRANCOIS " e 


““ LANDSCAPE WITH STORKS © A" 


THE picture is a harmony of cool, juicy greens, with the pale, 
greenish cream of the sky, exquisitely suggestive of the still- 
ness and refreshment of deepening twilight. The dark water in 
front reflects a patch of gray light, and is dotted with sedge and — 
leaves. 'T'wo birds skim its surface, and to the right floats a punt 
with a single occupant. The bank in the background is hedged 
with elms, in front of which stand willows, a large bush also 
growing close to the water on the left side. It is a charming 


subject in Daubigny’s most intimate manner... 7 .. - 
Ch. Web “fet” 
Signed at the lower left, Dausiany, 1864. Height, 9 inches ; length, 17 inches. 
AA empe 
From THE CoLLecTIon or Wittiam Scuavs, 1896. Lpe/ Ae © 
esetpan 


: y i 
mS Ay, te pe _ 


‘CATALOG UE. 


ic : he i No. 70 ) O° 
nt : ()O™ 
Mis, THEODORE ROUSSEAU : 


St es: TWILIGHT. Firsr Stupy ror “Ranz DES. 
VacuEs ” (A FAVORITE AIR OF THE SWISS HERDSMEN) 
An RED glow permeates the background of trees, warming their 
rich olive foliage, through a break in the centre of which ap- 
“pears a layer of creamy light surmounted by gray sky with 
| streaks of darker gray and saffron. The splendor of the sunset 
lights on a pool in the foreground, flashing upon some cattle 
. hat are being driven by a man, and yellowing the fern which 
a "grows upon the banks that slope up on each side of the water. 
‘The coloring is indescribably mellow, interspersed with jewel- — 
like brilliance, and the sentiment of the scene, as “fades the 
~ glimmering landscape on the sight,” is a mingling of luxurious 
3 aaa: solemn stillness. | 


‘Signed at the lower left, Tu. R. Height, 74 inches ; length, 13} inches. 


‘ 


he | ~— a : at 
SME, Jy Nom | Sf Lg C v 
é ‘e BAPTISTE CAMILLE COROT x: te 


me 


LOMBARDY POPLARS b hatte 
A Brook, bordered by poplars and a few willows, winds back 

from the front of the picture. On each side the meadows bask 

in soft, genial sunshine, barred by the shadows of the trees, and 
on the oe a path leads up to a cottage, whose brown goof is 


A at, abhi 
eeay) 2, a At a. 


te | ce 
\ Ye MARINE WITH YACHT (© W Ay lbre. 


THE WARREN COLLECTION 


bosomed in foliage. A woman is approaching it, and on the 
right bank of the stream lies a man with a dog beside him. 
The picture is a particularly charming example of the master; | 
tenderly harmonious in color and replete with a sweet intimacy 

of feeling. | 


Signed at the lower left, Corot. Height, 174 inches ; length, 23% inches. 


No. 72 


CHARLES FRANCOIS DAUBIGNY 


A HIGH, vertical rock rises on the left of the picture, with 
« -broken fragments at its base. The gray sea comes tumbling in 
over the stones, and on the rollers in the middle distance rides 
a yacht. The sun is sinking, a scarlet orb beneath a warm, milky 
sky, above which hangs, like a curtain, a very dark cloud, lined 
with gray at its lower edge. The picture was painted on the cabin- 
blind, while the artist was on a yachting trip with a friend. It is 


attractively bold, executed in a broad and facile manner. 


Signed on sail of boat, C. D. re Height, 17 inches; nidth, 123 inches. Nad 


Lee LGlo® ew we 


No. 78 \gbe (D4 


if Adi JEAN BAPTISTE CAMILLE COROT 
Ly" VLA See 


/ REGRETTANT LA PATRIE 


Wiru one foot upon a stone and her fingers touching the 
strings of a mandolin, a girl is seated below a rocky cliff, which 
( Ixvi ) 


aia CATALOGUE | 
slopes down at. the back to a sheet of water where a sail is 
visible. Her figure faces front, while the head is turned in pro- 
iGile over her right shoulder. A robe of faded rose silk opens 
down the front, disclosmg a white gown, gathered into the 
waist with a black band. The picture would appear to be an 
‘ Bry example, corns Corot’s mastery of delicate tones. 


Pept i. ; 
‘J - > > 
beta “a 
s i ‘ 
we sad), 


| Signed at the lower right, Conor. Height, % inches ; width, 17} inches | 
‘ ms t btned 


; _ From Messrs. Arnotp & Tripp, Sra 1888. wt ° 


7, r ee. hie, 
oe am - JULES DUPRE eran MM. 


TWILIGHT ON THE SEINE 


. THE picture is one of those representations of twilight in which, 
__as one watches it, the light seems really waning. A quiet reach 
‘ of river extends across the front, on the right of which four 
cows are standing in the water, three of them beneath a bunch 
of oaks. A little spit of land with a scraggy oak upon it pro- 
____ jects upon the left, and near it is a man in a punt. Across 
the middle distance the river is bounded by a stretch of flat 

__ meadows, with small trees reflected in the water and pricked 
___ out against the milky blur of the horizon. The greening sky is 
-___ veined with shreds of slaty vapor and rose and creamy streaks. 
A feeling of solemn rest pervades the whole scene. 


Wer 


Signed at the lower left, Jutes Dupre. Height, 94 inches ; length, 14 inches. 
From THE JAMEs L. Cracuorn Co.tecrion, 1877. NMS a a; 
ff Aa ( Ixvii ) Cite 


THE WARREN COLLECTION 


No. 75 


JEAN BAPTISTE CAMILLE COROT 


‘ya LANDSCAPE WITH rege 


On the left of the picture rises a tree, its tall stem clothed with a 


ivy. It is topped with grayish-green leafage, that is sprinkled 4 | 

/ with tufts of brighter hue and fringed upon its outer edge with BY 

a delicate lace of leaves. Hard by is also a slender stem, which — , 

‘I grows up into the mass of foliage. On the right of the main 


tree stands a woman with white sleeves and cap, and another — ; 
is seated to the left. Behind them lies a wall of rocks, corre- 
sponding with which on the right of the composition are a ruin oa | 
and some trees. Through the dip between these objects appear » | 
the view of a building with a round tower and, in the distance, _ 
soft gray hills. In a pool of water in the foreground stands a — 
brown cow, turning its white face towards the front. The gray _ 
sky, with a flurry of white and dove-colored clouds, warming a 
towards the horizon to a blend of cream and wine hue, is im- — . | 
pregnated with soft evening light. The fragrant purity of cool a. | 
and tranquil atmosphere is most charmingly suggested. eS | 


ied at the lower left, Corot. Height, 254 inches ; nidth, 194 inches. 


A H.R LM Og 


( Ixviii ) 


CATALOGUE 
a mee 
Or apne ie No. 76 bs 3 | 
JE! «Nn FRANCQIS MILLET ff K a 
f4 1897 a E 50 y | 


TE f | so fe eam 3 ao J 


Sig ? att the lower aa: 4 pe 2 oo, Height, 14 inches ; nidth, 9 inches. 


oe eo 


7 No. 77 
onan 350 
CHARLES FRANCOIS DAUBIGNY]. 5 t 


: + 
BOATS ON SHORE ‘Sy 7 WW Jae ie 

 Sanp on the left slopes gently down to the water’s edge, where 
a lugger has been beached. Beside it is a boat with a white sail, 
and other boats are drawn up along the shore that curves round 


to the right; to the left being a few cottages. On the opposite side 
(@:ixix:)) 


THE WARREN COLLECTION 


of the water stretches a low, sandy coast with green upon its top. | 

Pe Little red flags flutter from the masts against a gray sky, that —__ 

.” < » grows bluer towards the left and upper part. It is a quiet little 
\. bit of truthful painting, executed with breadth and freedom. 


4! Signed at the lower left, Dausiany, 1871. Height, 134 inches ; length, 224 inches. 
nh : ; ; 
¥ Contributed by the Artist to a sale held in New York, for the relief of the “Chicago Suf- 
‘ ferers,” May 16, 1872. 


ae 


JEAN FRANCOIS MILLET 


wt) ‘PEASANT WOMAN AND CHILD 


y A PEASANT woman is reclining on a bank, with her right leg 


under her and the left hanging down, her right hand resting on 
the other wrist, which is passed through the handle of a basket. 
She wears a loose chemise-body and russet-green skirt, and 
turns her head, bound with a blue kerchief, to look at a nude 
child that crawls to her side. The green and brown foliage be- 
hind the figures is bathed in a golden atmosphere, which lends 


~ an unusual richness to the color-scheme. 


Signed at the lower right, J. F. Mi.uet. Height, 18 inches ; nidth, 15 inches. 
J o From THE Cotiection or M. Sensrer, Paris. 
p From THE CoLttectTion or M. Perrau, Paris. 


From THE CoLLECTION OF ALBERT SPENCER, NEw York, 1888. 


uf » ufo UT oSxx 


( Ixx ) 


CATALOGUE 


3 “ if 
Vo B dhl No. 79 


THEODORE ROUSSEAU. 


_ A PLAIN IN BERRI—SUNSET 

_ Tuere is an almost tragic intensity in this picture. The plain 
stretches before us, gloomy with shade, through which one 
can discern a woman in a white cap standing beside a stooping 
man, and pools of water in the hollows, showing faintly brown. 
’ The awe and desolation are enforced by the scanty contrast of 
___a few meagre trees, that break the level of the horizon, which 
2 is slashed with a long scar of lurid white. The sky above is « 
mottled with blackish-drab clouds, scudding across the gray 
vault. The ground shadows, notwithstanding their depth, are 
extraordinarily penetrable, and the sky is marvellously mod- 
elled with substantiality of cloud, endless distance, and the 
mysterious pervasiveness of fading light. The picture repre- 
sents the master in one of his grandest moods, profoundly ob- 
servant, | terribly sincere, rendering a phase of nature that is 
austere and inaccessible. | 


Signed at the lower left, Tu. Rousseau. Height, 154 inches ; length, 244 inches. 


From tHe Coiiection or M. Enrter, Parts, { Stat 
Who bought it in 1872 from the French expert M. Perir. _ As Vs 
From tHe American Art ASSOCIATION SALE, 1892. 


Astro lS SE Vcr 


Gres <1.) 


mt) 
4°" 


a 


THE WARREN COLLECTION 


No. 80 


rd 4 Y, Mh Qing | 


ADRIEN GUIGNET 


A CONDOTTIERE 
THE robber-soldier stands in vigorous attitude, turned towards 
the right, the figure immersed in the gloom of the background, 


except where the light from the left touches the orange head- 


dress, steel shoulder-flaps, and the folds of his white tunic and 
crimson. sash. He holds his right hand to the belt, from which 
a sword hangs, and carries a spear over his left shoulder. 


Guignet founded his method on that of Salvator Rosa, and - 


the present picture well illustrates the dramatic character of 
his conceptions, the spirited attack of his brushwork, and his 
rich and juicy coloring. 


Signed at the lower left, A. GUIGNET. Height, 16 inches ; nidth, 9 inches. 


No. 81 


KARL HAAG 


A MONTENEGRIN LADY A- ‘, Z 
Tue head and bust of a lady are shown almost full face against 
a green background, the large, handsome eyes glancing to the 
left. Her head-dress is a turban, with crimson crown and a 
broad edging of black velvet, over which hangs a soft, creamy 
veil. A plait of brown hair descends upon the right shoulder. 
Her white bodice is decorated over the bust and collar with 
( Ixxii ) 


CATALOGUE 


: _ geometrical designs in pale blue and red, and she wears a neck- 
__ lace of sequins, and ear-rings formed of pendant gold trinkets. 


No. 82 


HEAD OF A SPANISH WOMAN 
__ Tue handsome face is in profile to the right, against an almost 
black background. A head-dress of old rose and golden yellow 


:- ‘surmounts the dark hair; the eyes are lowered, and the fea-_ 


q tures have a languorous warmth of color. Over the bust is a 
creamy drapery, sketchily suggested. 


a Signed at lower right, W. M.H. yin monogram. Height, 234 inches ; nidth, 17% inches. 


Lh. eee 
ee 


FRANCISCO JOSE DE GOYA Y LUCIENTES 


HEAD OF A YOUNG GIRL 


IN his portraits of young girls Goya could yield to the fascina- 
tion of his model and merge his cynicism and frequent brutality 

_ in the tender attractiveness of his subject. He has done so in this 
charming little picture of a girl’s head, slightly inclined to the 
left; the brown hair brushed off the forehead and peeping at 
the sides in curls from the simple elegance of the lawn cap. The 
gray eyes are wide open, gazing frankly at the spectator, and 


C lexiii ) 


Signed at the lower left, Kanu Haac. Height, 14 inches ; width, 10 inches. 


WILLIAM MORRIS HUNT { 4 D 


ee ee ee a a ee 


THE WARREN COLLECTION 


the ivory tints of the features are suffused with warmth. The 
girl wears ear-rings and a necklace of pearls, a white lawn tip- 
pet being drawn close around the neck, over a white front and 
olive sleeves. The head is subtly placed against a dark back- 
ground, which gives a touch of mystery to the sweet, earnest 
expression of the face. | | 
Height, 8 inches ; nidth, 6 inches. 


FLEMISH XV nile 


No. 84 


“\)" MADONNA IN AN ARCH (Pamrep on Lawn) 


THE Madonna is seated against a background of old rose, dia- 
pered with crimson and framed in by a flat arch of gold. Her 
brown wavy hair descends over each shoulder to the waist and 
is circled above the forehead by three strings of pearls, which 


are fastened in front by a jewel, composed of four pearls sur-— 


rounding a carbuncle. She inclines her head towards her left 
shoulder where the Infant nestles asleep, whose form she sup- 


’ ports upon her left arm. Her hands are crossed upon her breast, 


the thumb of her right hand being clasped by the Child’s left 
thumb and finger. The latter’s robe is of gold, the folds of which 
are pencilled with vermilion, while the Virgin wears a dull blue 
robe, showing the geranium-colored sleeves of an undergarment 
and a cloak of blue, edged with a narrow pattern of gold. The 
features and hands are drawn with delicate precision, exquisitely 
modelled in tones of gray and white, with carmine on the lips. 


Height, 12 inches ; nidth, 9 inches. 


( Ixxiv ) 


“wu ly dal ve ie es ee a 


CATALOGUE 


No. 85 


7 UNKNOWN 

ot LIFE : 

On a dull scarlet cloth that partially covers a table painted to 
Beireent green marble, lies a dead jay. Behind it are a mass of 


orange and fawn colored fur and a powder flask of soft, buff 
leather with brass nozzle. 


| Signe at upper left corner, T. P. Korrman(?), 1845. 
a Height, 12 inches ; length, ee inches. 


i No. 86 


PORTRAIT OF MARTIN LUTHER 


: THE head and body are shown facing three-quarters to the 
4 right; the right hand resting on a bar across the bottom of 
_ the picture, and the left holding a wooden rosary. A baggy cap 
of black silk with ear-flaps partly conceals the fair hair; the 
__ keen eyes have a suspicion of humor, and the lips are set to- 
_ gether with a mixture of kindliness and determination. The 


ee Se 
pe 
iy Je 4 Se ie 
” |e 
” 


_ throat is enclosed in a white embroidered collar, around which 
are bands of white and fawn-colored fur with which the slaty- 
4 blue robe is lined. The sleeves of the latter are full and open, 
| displaying the black sleeves of an undergarment. 


a Gaara ren 
a5 y — 


Height, 10 inches ; nidth, 74 inches. 
Clxxv ) 


THE WARREN COLLECTION 


_No. 87 vA Toh ee | 
A A Autts 


DUTCH SCHOOL, XVII CENTURY 


AN INTERIOR 


THE scene is a rude kitchen with bluish-gray walls, buff-brown 


doors and woodwork, and a brown ceiling, partly in shadow. It 
is occupied by two groups. Near the centre a peasant, in blue 
trousers and green waistcoat with red sleeves, turns his back as 
he sits at a table, playing cards with a woman, over whom a 
man leans, pointing to one of the cards. On the floor beside the 
first player are a green pottery jar, a red pipkin, and two pipes. 
In the group seated on the floor to the left, round a stool on 
which lies a red plate, a woman is feeding with a spoon a 
spaniel, held up before her by a man. The figures are gro- 
tesquely ill-shaped, but the color has something of the bloom 
and harmony found in the similar subjects of Van Ostade. 


Height, 12 inches ; length, 15 inches. 


No. 88 


GODFRIED SCHALKEN 


 . % % 


WISE AS A SERPENT . THA 


Yh, 


A. FAIR-HAIRED lady is seated in 1 front of a store pees to 
the right of which is a view of landscape with castle and rock. 
Fixing her eyes on the spectator, while her head faces three- : 
quarters to the left, she holds a snake on her lap and poises a 


(chxxyvi® 


ee Bee ee aye | oe 


CATALOGUE 


dove upon her raised left hand. Her gown is of pale rose, with 
_ a drapery of old-gold color over her shoulders and one of deep 


blue lying across her knees. 
Height, 13 inches ; width, 104 inches. 


Vs No. 89 
LP : a PETER PAUL RUBENS 


CHRIST'S ASCENSION 


Hotp1ne on high a rose-colored flag and crushing under foot 
a creature with the head of a man and the extremity of a ser- 


pent, the Christ sits erect upon a stone tomb. The figure is nude 
but for a white drapery over the knees, superbly virile in its 
attitude and in the ripe, glistening color of the flesh. An angel 


ne eet ee a Tn ee re ea a ee + 
Ot ae = pan a ya a eS Eup ia! non 
r ’ vr i ed ’ £. 


holds a crown of thorns over the Saviour’s head ; another appears 

on the right in golden drapery, and a third, stooping on the left 
of the group, blows a tuba. Throughout the whole picture is a 
magnificent fervor of color and movement. 


Height, 11 ches ; nidth, 104 inches. 


From THE Prince Demiporr CoLLEcrion (PRATOLINO). 


AL ._ k 
JAN BREUGHEL, THE ELDER | je 


(CaLtLED “FLUWEELEN,” VELVET) 


No. 90 


CIRCE CALLING ULYSSES 


Tue spot in the enchanted isle of Circe is represented as a cool 
retreat, carpeted with moss and darkened with the shade of 


e ’ ( Ixxvii ) 


< ; THE WARREN COLLECTION 


deep green trees, through a rift in which appears a glimpse of 
landscape, delicately blue in the distance. The thread of com- 
munication with the outer world is a stream which divides the 
foreground into two parts, terminating at the foot of a cave- 
upon the left. Here Ulysses leans upon a ledge of rock, while 
on the opposite side of the water Circe, poising a long dart, 
moves lightly over the bank. Beneath her feet is the inscription 
“Tu ne cede mals sed citra audentior,” and under his, “ Sedet 
aeternumque sedebit Infelx.” A coracle rocks on the water be- 
side the cave, and a snake and a Triton swim near.it; other 
creatures haunting the spot. Four cupids flutter in the air, a 
dragon crawls near the enchantress, and in the cave a cock con- 
fronts Ulysses, while two fierce dogs guard the fire from which 
mounts a thin spiral of smoke. 

The landscape is charmingly conceived, drawn with skill, and 
deliciously fresh in color, forming a rich and sumptuous back- 
ground for the gem-like brilliance of the figures and various 
objects. 


Signed at the lower centre, BREUGHEL, 1595. Height, 134 inches; length, 20 inches. 


No. 91 y/, os 


AART VAN DER NEER 


HARBOR SCENE, HOLLAND 


In the foreground, embrowned with evening shades, a man is 
driving three cows down to the water to drink. Beyond them 


is a small harbor with curving hills on each side, picturesquely 
dotted with houses. A vessel is sailing out with the tide and 


( ixxvni) 


Fe 


' 


ee 


¢ rela aap simmons akan nnn — 
‘Sars er oe ek ee Re, ao 
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CATALOGUE 


others are visible beyond the narrow entrance. A pale primrose 
reflection caresses the water, as the sun sinks in a round orb be- 
hind a veil of vapor, leaving the sky a dark olive drab at the 
zenith. The picture is a charming example of Van der Neer’s 


beautiful moonlit scenes, tenderly harmonious in tone and full 
of exquisite subtlety in the transparency of the lights and shades. 


iy of { Deve x 2 | 
be a Height, 10 inches ; length, 15 inches. 


gt 


tune 


3 
s 


THE COBBLER | 


AN old man with grayish-brown beard and mustache is piercing 


No. 92 


th he 
DOMINICUS VAN TOL 


the sole of a shoe with his awl. He is working beside an attic 
window, through which shows a peep of blue sky, reddening be- 
| low, and behind him the timbers of the roof and a rack con- 
, __ taining lasts appear through the gloom of the background. He 
wears a white ruffle round his neck and a brownish plum-colored 
gaberdine that leaves one knee exposed, the sleeves being turned 
back so as to display the scarlet lining. The hands and face and 
the various tools are painted with minute care after the manner 
of Gerard Dou, whom Van Tol, his nephew and pupil, closely 
followed. 


Height, 12 inches ; nidth, 94 inches. 


From THE Duke or Hamitton CoLtecrion. 
From THE CoLLection oF Herr Viannine, HoLrann. 


Fe 4 Colxxix>) 1) 


THE WARREN COLLECTION 


BRUSASORCI, THE ELDER 


(Reat Name, Domenico Riccio) 


LADY IN VENETIAN COSTUME 


Tne lady is seated in front of an architectural mass, to the 
right of which stretches a brownish landscape of bushy hill, 
with one tall tree sheltering a flock of sheep. The head is 
slightly turned to the right, while the body fronts us, seen as 
far as the elbows, with a little of the left arm visible below 
the sleeve. Her blond hair is coiled in plaits round the top of 
her head and frizzed over the forehead; the features are fleshly 
and warm in tint, and a string of pearls encircles the plump 
neck. The bodice, of dull purple brocade upon silk of the color 
of wine diluted with water, leaves the neck and chest exposed, 
covering the shoulders and being cut square above the bosom. 
Its edges down the front are separated by a V-shaped space, 
filled in with a creamy net, which is also drawn skin tight over 
the bosom and neck. The subject is a bold Venetian type of 
beauty, drawn with a sure hand and of color originally luxurious. 


Height, 28 inches ; length, 49 inches. 


Lonpon, Aue. 9th, 1902. 
Tue AMERICAN ArT AssocIATION: Sirs:— 


At the request of Mr. E. P. Warren I write to tell you that in my opinion the 
painter of the portrait of a Lady in Venetian costume . .. was Domenico Bru- 
sasorci, of Verona, and that you can, if you judge fit, name me as responsible 


for this attribution. Yours faithfully, 
BERNHARD BERENSON. 


Cale) 


eae Se he hee 


CATALOGUE 


; No. 94 


: VINCENZO CATENA : 00 
MADONNA : + | 


Tue Virgin is seated beside a crimson curtain in a loggia, over- 


looking a small square. With figure inclined towards the right, 
____ she looks down at the infant Christ, whose head is turned from 
her to gaze at the young St. John, standing on the right with 
crossed arms. The Christ, encircled by the arms of His mother, 
f has the right hand raised in blessing, while the other rests 
. upon His left knee, the right foot being raised. Over the Vir- 
: gin’s golden-brown hair is a white linen cloth, that hangs over 

her left shoulder, while a blue mantle falls in voluminous folds 

over a crimson robe. In the centre of the square, beyond the 

loggia, is a well-head with a man beside it; and a woman in 
_ white is crossing to a church upon the far side, whose single 
I door, elevated on steps, has a circular window above it. To the 
i left is a dwelling-house, roofed, like the church, with red tiles. 
a The skilful rendering of the view in the background is particu- 
a larly noticeable, and the figures have a tender repose, charac- 
teristic of this follower of Giovanni Bellini. 


Signed at the lower right, V. C. P. (Vincenzo Catena Pryxir). 
Height, 16 inches ; length, 203 inches. 


aK 
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( lexx1) i] 
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HARBOR VIEW Lo 


THE WARREN COLLECTION 


a 

No. 95 f 

° BARTHOLOMEUS VAN DER HELST : 
A BURGOMASTER'S WIFE “J f | / LL AM 


THE figure, fine and dignified in carriage, is inclined Aowards 
the left, while the lady’s eyes are quietly intent on the spec- 
tator. Her face is wide-browed, with strong nose and kindly 
mouth; well preserved save for a few wrinkles round the cheek 
and chin. The brown hair is drawn back from the forehead 
under a white, gauzy cap which has a turn-over brim, edged 
beneath with narrow lace. A large white ruff is worn over the 
stiff, black silk dress. The portrait is full of foree and direct- 
ness, a characterization of genial and candid realism. 


Height, 21 inches ; nidth, 154 inches. 


No. 96 


a 


On the right of the harbor a rocky as rises & he. 
crowned by a range of buildings with several towers. Upon the 
beach at its base is a group of persons, standing or sitting; con- 
spicuous among them being a pedlar in scarlet, standing be- 


side a white horse with panniers. Sail-boats are moored under 


the rock, and in the front of the composition a man is push- 
ing from the shore in a row-boat, and another boat, with five 
figures in it, is rowing to the land. The sky on the left is of 


( Ixxxii ) 


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CATALOGUE 


slaty hue, while clouds with white edges form a ring round an 
open space of greenish blue on the right. The greenish gray of 


the water and russet-drabs of the rocks and buildings complete 


a color-scheme that is very mellow in hue and delicate in tone. 
The picture has the feeling and character of a seventeenth-cen- 
tury Dutch marine. 


Height, 20 inches ; length, 30 inches. 


No. 97 


DUTCH INTERIOR a 4 


Two women appear in the dimly-lighted brown interior, which . 


has a window at the back screened by a brown curtain. To the 
right of it a door opens into a little entrance-hall paved with 
drab and white tiles, and having a window, across the lower 
half of which is drawn a pale rosy curtain. The faint, pure light 
of dawn filters through this and streams in at the open door, 
beyond which is a peep of canal and of the opposite bank, on 
which a man is walking under the trees. This part lies still in 


shadow, but the daylight catches the roof and gables of some 


distant houses. 

One of the women on the left of the parlor has stooped to 
kindle the fire, turning meanwhile to the other, who stands in 
the middle of the floor with her basket on her arm. A little 
spaniel runs towards her, as if eager for the start to market. 
The picture is one of exquisite repose and freshness; illustrating 
De Hooghe’s mastery of color, of atmospheric effect and of 


( lxxxilli ) 


ll 


THE WARREN COLLECTION 


light and shade; the latter, especially, being rendered with mar- 
vellous truth and poetic imagination. 


Signed at the lower left, P. pp Hooaue, 1656. Height, 22 inches ; length, 27 inches. j 


From THE CoLLECTION oF CHEVALIER DE LiIssENGEN, VIENNA. ¢ 


From THE CoLLEcTION oF BaRoN DE BEURNONVILLE, Paris. 


No. 98 


GEORGE MORLAND 


if "READING THE NEWS Wy, yd 4 YW Lf P ibs | | 
with easy natural | 


SomE figures are grouped in the stable-yard, 


_ gestures listening to an ostler who is reading from a newspaper. 
The latter stands before an open door in a drab-walled building 
on the right, and near him the “boots” pauses in the act of pol- 
ishing a top-boot, while to the right of them a stable-man in 
red shirt and dirty buff breeches lounges with his elbows on 
a fence. On the opposite side of the yard, against the end of a 
building in shadow, a black horse is tied and a countryman in 
smock-frock stands with his left arm over the animal’s back. A 
dog is seated to the left. The picture is very harmonious and 
mellow in quality with a prevailing tone of dreamy gray-green 
drab, carefully and skilfully painted, with the charm of truth 
and simplicity characteristic of Morland’s best work. 


Signed at right of lower centre, G. Moruann, 1792. 
! Height, 244 inches ; length, 294 inches. 


dp. S.C. PF. 44. /EGS Her. MSs 


mt CATALOGUE 


i SGN No. 99 
| tae oo ABRIEL METSU 


YOUNG VIOLINIST 


A YOUNG man, shown as far as the waist, standing three-quarters 
turned to the right, is in the act of playing a violin. A hat with 
upturned brim, covered with fur, surmounts his head, which 
inclines towards the instrument, his eyes glancing with merri- 


ment and his lips parted in a smile. He wears a brown cloth 
jacket, over a white shirt that hangs open on the chest in a 
long loop. The hands are large and supple. The picture, which 
is a study in various tones of brown, illuminated with warm 
light, has been attributed by Mr. Van Gelder to Dirk, the 
brother of Frans Hals. 


_ Signed at the right of lower centre,G. Metsu. Height, 244 inches ; width, 19 inches. 


From tHe W. H. Aspinwatt Cottection, 1886. 
, Bgrrrr 7 


No. 100 


~é= SCHOOL OF PERUGINO 


MADONNA AND CHILD 


| Tue figure of the Madonna is represented to the knees, sitting 
in front of a landscape, which has a knoll on the left, sprinkled 
| with thread-like trees, and on the right recedes in ranges of i 
hills. Her head is inclined over her right shoulder, while the aq 
eyes are directed towards the left; and the reddish-brown hair 


. (lxxxv*) | 


THE WARREN COLLECTION 


is bound with a fillet and partly covered with a wisp of veil, 
that falls upon her right shoulder and across her breast. She 
is arrayed in a bluish-green mantle over a crimson robe, which 
is cut straight across the breast and bordered with gold em- 
broidery. Her right hand is upon her lap, pointing to the Child, 
who sits upon a cushion on her knee supported by her left 
hand, towards which He is looking. His feet are crossed and 
He raises the right hand in blessing, the left being on His 
breast. He is nude except for a narrow white drapery across 
the body. 

The gracefully affected pose, the flesh-tints of olive and i 
ivory with delicate tinge of brownish carmine, and the senti- 


CRAIN ST RID 


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ment of wistful tenderness are full of recollection of Perugino. 


Height, 234 inches; nidth, 18 inches. 


From THE COLLECTION oF THE GRAND DUKE oF Tuscany. 


From THE COLLECTION oF THE DUKE oF Lucca. § 


No. 101 ; 


AGAINST a dark drab oval background the fcnvee is shown as 
far as the elbows, inclined towards the right, with the head 
turned three-quarters to the front. The body is encased in a suit 
of dark steel armor, over which a dull crimson cloak is draped, 
falling from the left shoulder partly across the chest. The ends 
of a soft cravat hang down over the corselet. In contrast with 
the martial costume are the white peruke and flabby, self-in- 


( lxxxvi ) 


CATALOGUE 


2 a i gent Fitce. ‘The eyes are large and flesh-laden; the bridge of 


— th € nose depressed ; the supple lips complacently set together; 
the e chin double and pendulous. 


Height, 30 inches; nidth, 25 inches. 


fe. No. 102 
JEAN BAPTISTE GREUZE f 


HEAD OF A YOUNG GIRL 
fee picture, a good example of Greuze’s type of girlish inno- 


_ cence and beauty, shows the head and bust, the latter fronting 
three-quarters to the right and the head slightly tilted over the 


pret shoulder, and facing us. A dainty white lace cap covers. 
- the hair, its ends fastened beneath the chin. The eyes look from — 


under half-closed lids through brown lashes, and the ripe flush 
of youth tinges the cheeks, nostrils, and lips. Over the low- 
necked bodice of gray silk, a white fichu is worn, fastened upon 
- the bosom with a crimson rose. While there is some excess of 
q sentimentality i in the picture, it is fresh and juicy in color, and 
j painted with a breadth and freedom that have considerable 
vitality. 


An oval—height, 23 inches ; nidth, 19 inches. 


( Ixxxvii ) 


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THE WARREN COLLECTION 


No. 103 
THOMAS GAINSI “ll OUGH, R.A. 
4k 


PORTRAIT OF cotstt? INE JOHN PHIPPS, 
SECOND BARON MUSGRAVE 
GainsBorouGu’s predilection for cool colors and especially for 
blue and, equally, the purity of his tones and silvery sheen of 
atmosphere, are illustrated in this portrait. The head and bust 
are shown against a drab background, facing three-quarters to 
the left; the figure being clad in a deep blue coat with facings 
of white silk, decorated with gold braid and buttons, worn over 
a lace cravat and white satin vest. The hair is powdered, form- 
ing a peak upon the forehead, brushed back from the brows 
and massed below the ears in full loose curls. The face has a 
mingling of shrewdness and kindly refinement; the brows being 
irregularly arched, the eyes fixed to a distant vision, and the 
lips slightly compressed with an expression of suspended judg- 
ment. The flesh is cool in hue, exquisitely modelled with gray, 
transparent shadows. 

The picture is admirably characteristic of the artist’s gracious 
elegance of portraiture; at once, subtle and truthfully direct. 


ant aes fit sh 


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Be AF i Height, 29 inches ; midth, 24 inches. 


( Ixxxviii ) 


CATALOGUE 
No. 104 


SIR J OSHUA REYNOLDS, P.R. A. 


_ PORTRAIT OF LADY HERVEY OF BRISTOL 


WiTrTH a gesture of graceful artifice the hands are crossed over 
the bosom and the head turned sideways over the right shoulder. 
_ This brings into relief against a background of dark olive foli- 
age the exquisite refinement of the profile, the stately shape 
of the head with its brown hair brushed off the forehead and 
Br simply fastened with old-rose ribbon, and the choice lines of 
the neck, sweeping down to the broad bosom. The flesh-tints, 
vibrant with life, are yet of exceeding delicacy, modelled with 
| scarce a shadow ape invested with a pale amber lustre. The 
hands, though large, are shapely and soft in texture. The cos- 
tume consists of a gown of dull salmon color, cut low upon the 
bosom, and a russet-green drapery, hanging over the right arm. 
The transparent paleness of the bosom is enhanced by two 


rivulets of black ribbon, SMa ee a locket tucked into the 
corsage. — a7 LAs 
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Height, 29 inches ; nidth, 24 inches. 


From tHe American Art AssocraTion CoLecTion, 1895. 


JET F tasSce 


Pass xix ) 


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THE WARREN COLLECTION 


No. 105 


SIR THOMAS LAWRENCE, P. R. A. 


LYNDHURST “6 

Son of Copley, the American portrait-painter. Born i Bostde, May 21, 
1772 ; died in London, October 12, 1863; Member of Parliament, 1518; 
Solicitor-General, 1819; Attorney-General, 1824 and 1526 ; Lord Chancellor, 
1827, 1830, 1834, 1841 and 1845 | 

SHOWN against a golden-red background, the figure is seen 
nearly to the waist, in profile fronting to the left, the head be- 
ing turned three-quarters full, and the eyes fixed upon the 
spectator. The dark brown hair is worn in short, wavy confu- 
sion over the broad forehead; the eyes are greenish gray; the 
face full and tinged with carmine; the lips large and ripely 
colored. The short neck is encased in a soft, upright collar and 
cravat with a jewelled pin, while the black coat with large roll- 
over collar, buttoned across the chest, discloses the edge of a 
black satin vest. 


PORTRAIT OF JOHN Bab Sh a LORD 


Height, 29 inches ; width, 25 inches. 


From Messrs. Waris & Son, Lonpon. 


No. 106 0), f- 2 hn bh 


SIR THOMAS LAWRENCE, P. R. A. 


PORTRAIT OF LADY LYNDHURST 
THE charming subject of this portrait, a daughter of Charles 
Brunsett, was first married to Colonel Thomas of the Grena- 


( xc ) 


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CATALOGUE 


dier Guards and after his death at the battle of Waterloo, be- 
came the wife of John Singleton Copley, Lord Lyndhurst. 
She is represented with the fascinating esprit that Lawrence 
imparted to his best portraits of women; the bust nearly in 
profile and the face three-quarters full, the head being slightly 
tilted back, with a gesture that is a trifle coquettish, yet very 
gracious. The lace edging of a mob cap falls over bunches of 
chestnut curls, and its delicate frilled ends, fastened under the 
chin with a gold brooch, enclosing a sapphire, frames a youth- 
ful face of peculiar sweetness. The coloring is a delicate creamy 
pink; the eyes are blue, the nose softly rounded and the lips 
daintily recessed at the corners. A lawn stomacher is tucked 
into the straight-cut bodice of a green velvet dress, with tight 
sleeves tucked at the shoulders. The left hand is held near the 
waist, a gold bracelet encircling the cuff and a lace frill falling 
over the wrist. Upon the left of the background are some small 
brown trees, with a suggestion beyond of dark green foliage, 
above which is a strip of tawny-drab sky with a glint of blue, 
darkening above to a nearly black mass. Notwithstanding some 
perfunctoriness in the painting of the hand and curls, the por- 
trait exhibits the artist’s brilliant vivacity of style and elegant 
winsomeness of expression. 

Height, 29 inches ; nidth, 24 inches. 


From Messrs. Waits & Son, Lonpon. 


( xci ) 


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THE WARREN COLLECTION 


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EDUARDO ZAMACOIS ET) / ios ee 


» am 
dhe 
COURT JESTERS AT CARDS fe die eae 


STRETCHED at full length upon the grass, a — fool is play- 
ing cards with a dwarf, while a hunchback watches the game. 
The fool is dressed in a scarlet suit, with little brass bells on 
the scallops of his baldrick, the flaps of his cap, and the long 
pendulous loops of his sleeves. He holds two cards in one 
hand while setting down a third with great deliberation. The 
onlooker, who sits behind the huddled figure of the other 
player, has a blue silk cap with cock’s feathers of the same 
color. The three grotesque heads show against the paling light 
of the twilight sky. The picture is painted with Zamacois’s 
usual verve and color feeling and with more than usual senti- 
ment. For there is a weird contrast between these creatures of 
the court and the stern simplicity of the landscape, and some 
pathos in the association of the waning light with these sports 
of fashion. 


Signed at the lower right, EK. Zamacois, 67. Height, 103 inches; length, 21 inches. 
‘ 


ULL G Ween 


No. 108 


JEAN FRANCOIS MILLET 


JGARDEUSE DE CHEVRES EN AUVERGNE. Crayon 


J” A pRasant girl is standing in the middle of a pale yellow moun- 


tain pasture, sprinkled with a few stones. She carries a distaff 


(Sx cll) 


4g 5 CATALOGUE 
_ twined with wool, projecting in front from under her left arm, 
_ and from her right hand, extended beyond her back, hangs a 
4 "spindle. Her figure is in profile, facing to the right; clad in 
§ a blue tippet, a pinkish dress with the skirt folded back, and a 
f high straw bonnet. The flock extends behind her in a curve 
along the edge of the grass, and one goat is perched on a crag 
of rock a short distance off on the left. Pale green mountains 
_ rise in the background. In the character and freedom of the 
.. gesture and in the quiet absorption of the girl in her work, the 
artist has depicted more than an incident. The drawing has 
the comprehensive significance, marvellous in view of the sim- 
plicity of means employed, of a type. 


Signed at the lower left, J. F.Muxer. Height, 214 inches; width, 174 inches. 


From tHE CoLiection Marmonttt, Paris. 
From tHe American Art Association CoLLEcTION SALE, 1892. 


W3S - wr Ame2sx— 


f Vy fe bd ao. 109 oy 
JEAN BAPTISTE CAMILLE COROT He 


PARIS SEEN FROM ST. CLOUD v 


Tue picture offers a very sweet example of the tender delicacy 
of Corot’s method and feeling; being invested with an atmos- 
phere that is extremely subtle in its gentle monotony. The 
foreground is a kind of sandy hollow with a knoll on the right, 
covered with light and darker foliage, in front of which are some 
silver birches. Others appear in the centre of the middle dis- 
tance, and, in a dell beyond, a pink house peeps out, to the 
left of which is an orchard with a white cottage on the far side 


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THE WARREN COLLECTION 


of it. Across the level distance shows the white strip of Paris. 
On the left of the foreground a figure kneels by a paling and 
a woman with baby stands beside a child, while on the right a 
woman and cow are visible in the shelter of the rough bank. 


Signed at the lower right, Corot. . Height, 18 inches ; length, 30 inches. 


From tHE Coxtuecrion or M. Dexkeus, BrusseEts. yd / 3 3 
From tHE American Art AssoctaTION CoLLEction, 1892. vw 
Fae 
Ca al 


No. 110 


HONORE DAUMIER . 


‘A PRISON CHOIR Jk }p tty 
THE picture shows the heads and shoulders ah threes men, 
grouped around a music stand which occupies the right of the — 
composition. Two of them are dressed in white, and the one in ~ 


front, who turns his back to the spectator, directing the sing- 
ing, has a blue scarf round his neck. Their hair is cropped, 
which adds to the sharpness of their features; yet as they throw 
back their heads to sing lustily, there is a certain ecstasy of 
expression on their faces. It is one of those studies deeper than 
the surface, such as characterized the work of this famous eari- 
caturist, who might be more fitly called the pictorial historian 


i 


of his age. I ge ; 


ep Ur fi 
\ \ " y ‘nih \ Height, 19 inches ; length, 234 inches. 


. 
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Ci xciy”) 


CATALOGUE — 


No. 111 


os 


“WILLIAM MORRIS HUNT 


_ SLEEPING MOTHER AND CHILD 
THe mother is seated in a rough wooden chair, seen in profile 
— to the left, with her head turned in sleep over the face of her 
sleeping child, and her arms extended across the picture, until 
_ they meet around the child’s form. She wears a low, white 
bodice with a red kerchief round her neck, and the child is in a 
_ purple-brown dress with its bare arm hanging over its mother’s 
. : sleeve. A light from the right touches the latter’s cheek and 
the child’s face. The picture is exceedingly handsome in the 
~ ampleness and simplicity of its composition, and full of tender 
sincerity of feeling. | 


9 . Signed at the lower left, W. M. Honr. Height, 23 inches; length, 284 inches. 


ZA | O2®*OY 
PIERRE PUVIS DE CHAVANNES ik *) “4 a 
THE ELDER SISTER 2 UAE er : a 
THE picture would appear to be an early example of the master, _ | 


I q when he fully modelled his figures and had not yet rarefied 
| __ his scheme of color, and may well be a recollection of his brief 
visit to Italy. For, behind the figure of the little girl, nursing 

_her baby brother, the green fades into blue with a suggestion 

of water, and in the distance appear a campanile and smaller 


Gsxcy:)) 


a 


THE WARREN COLLECTION 
tower. The elder sister, with dark complexion and brown, taggy 
hair, wears a shabby white bodice and dark blue apron, while 
the chubby sleeper is dressed in a dull red skirt with white 
body. The girl’s arm encircling the child, and the latter's rosy 
feet, are drawn with particular charm of feeling. | 


Signed at lower right, P. Puvis pe Cuavannes. Height, 41 inches ; width, 234 inches. 


No. 118 


NARCISSE VIRGILE DIAZ DE LA Wis 
DESCENT DES BOHEMIENS \ ¢~ f 
Tuts picture was exhibited at the Salon of 1844 under the title 


~ of “Bohémiens se rendant 2 une féte.” It received an extended 


notice in “Le Charivari” of Sunday, March 24, in that year; 
the writer praising the audacity of the subject and favorably 
comparing its manner of painting with that of Decamps, as 
“exhibiting less deliberation and procedure; being more frank 
and naive, less dry and hard; smacking more of nature and less 
of the studio.” | 

Down a steep descent between rock and fern and under the 
canopy of birch and forest oaks the joyous band of men, women, 
and children wind, a rivulet of color and lively animation. At 
their head strides a woman with a basket of fruit upon her 
head and a little child by her side. In front of these a woman 
has turned to look back at the procession and conspicuous 
among the brilliantly-colored costumes is a girl’s geranium 
skirt. At the foot of the incline is a spring of -water, near which 
stands a youth with a sheepskin strapped across his shirt. A 


(ex cv1*) 


_ under the shadow of some birch trees, a mother nurses her baby. 


| nation; of the brilliant fantasticalness of his composition and 


. _ Signed at the lower left. Height, 39 inches ; nidth, 314 inches. 


| 7 _ the lyre, which he holds up before him, as if relying on its 


CATALOGUE 


3 ~ rough black and white hound is by his side and another stoops 
__ to drink the water. On an elevation to the left of the spring, 


The picture is a grand example of the artist’s fervent imagi- _ 


of his ine resourcefulness as a colorist. 
At. P-XKK™ 


No. 114 
aA. 


JEAN BAPTISTE CAMILLE COROT 


ORPHEUS AND EURYDICE We 
OrruHeEus is represented holding the hand of his wife, hurrying a 
if? og : a 


a little in advance; with gaze averted from her and fixed upon 
magic influence. Their figures are on the right of the composi- e « 4 
tion, between a large tree with ivy on its trunk and a group of ip nA, 
stems, whose foliage unites above, in a sprinkled mass. Already 
the clear air of the upper world begins to enfold them, for they an 
have passed the Styx which glides across the scene, separating a | s {> i 
them from the other bank where a chill misty atmosphere ren- = #*™ 
ders indistinct the grove and the Shades which haunt it. One 
can distinguish a figure drooping upon the shoulder of another, ij 
three moving languidly side by side, and others lying on the | 
ground. | 
The subject is one that Corot painted several times, and a 
doubt has been expressed as to whether Corot is responsible 
for the present eee on as a whole. On the other hand (to 


( xcvil ). 


THE WARREN COLLECTION 


quote the doubter), “it is nearly certain, as shown in the illus- 
trated catalogue of the Saulnier Sale of 1881, that the painting 
called ‘Orphée Entrainant Eurydice’ in that collection is the 
Warren Corot. It is certain that the picture was more or less 
repainted many years ago, probably by Corot. Formerly there 
was a tree between the two figures. This was painted out and 
the figures made to join hands.” jj) /-/ 3% OK & 


Signed at the lower left, Corot. Height, 43 inches; length, 53 inches. 


From tHE For-Smit Co.titection, Rorrerpam. 


CONSTANT ay Eee 


COAST NEAR VILLIERS U. ; " I: 


A suaty sky, full of rain, lowers over the pale Gene -blue 


sea, ruffled into lines of white foam as it rolls up on to the sandy 
shore. The latter stretches back through the right of the com- 
position ; bordered in front by scrubby grass, in the middle dis- 
tance by dark olive cliffs, sprinkled with patches of yellow 
wheat, and in the extreme distance by dull purple cliffs. The 
scene is lit by fitful gleams of cold light and animated by many 
figures. On the left two men on white ponies are riding up 


from the beach; nearer to the centre is a sportsman with a gun, 
in front of whom two men with a bat-fowling net are search- 
ing in the grass. More distantly, along the road that skirts the 
shore to the right, a rider approaches on a donkey; two women 
follow behind, and other figures are visible on the distant beach. 
It is an early example, which proves Troyon’s command of 


( xevili ) 


or ee oe ee LA Gee de. ee eee ye rae AS irs 


CATALOGUE 


__ landscape before he added to it the crowning achievement of 
cattle painting; a stirring, masterly composition, full of simple 
truth to pure, big in conception, broad and forceful in exe- 


cution. Add nxxux | fb S49 %"7 


Signed at the lower left, C. Trovon.. Height, a inches ; length, 37 inches. 


~. \e\o4 


From THE Mary J. Morcan Co.tecrion, 1886. a f S 


M7 7h war sa ore 
aaa Ara 


PA as No. 116 


FERDINAND VICTOR EUGENE Me a TA {E87 


i pe | f 
; HERMINIE ET LES BERGERS a 4 aes ae y (d 
\ Tue landscape is one of sloping swards, bounded by hills, a | 
scene of fresh and juicy verdure. Towards the left of the fore- . poe” att a 
ground beside a green bush stands a yellow, brown-thatched : , é) 0 
cottage, from the door of which a child is approaching a group | 2. al 

of peasants in the centre. They are startled at the appearance | 
of Herminie, who comes forward from the right, leading her 
fine chestnut charger. An old man stops in the act of making 
a basket, to look up hurriedly; a little child on the ground 


makes a movement towards him, and a woman behind, who 
holds a distaff and has beads upon her bare, brown breast and 
a dark blue cloth round her loins, stares dumbly at the visitor. 
On the extreme left a shepherd, wrapped in a dark pelt, leans 
upon his crook, while his dog advances barking. Herminie, ac- 
coutred in steel armpieces and corselet over a short maroon- 
colored skirt edged with white fur, has a figure of noble mien 
and a face radiant with spiritual refinement. The subject 1s 


: | (xeix'-) 


i dt. fh exch: 


THE WARREN COLLECTION 


represented very simply and naturally and yet the romantic 
suggestion is most strongly felt. 


Signed at lower right, Kua. Devacrorx, 1859. Height, 32 inches ; length, 39 inches. 


From THE GoLpscHmMIpT CoLLECTION, Paris. rte: Ze & a f & &s - Wrs NKXK ka 
pombe Prt feats 


No. 117 


f RICHARD WILSON, R.A. 


wy! TIVOLI LANDSCAPE SA? flpe PAG , 
ve and 


In the foreground is a rocky knoll clothed with rich 
*russet hues, on which a peasant woman is reclining beside her 
basket. A white cloth partly covers the latter and the woman's © 
costume is a white apron over a blue dress. A greyhound thrusts 
its nose into her lap, and another is looking up at a man who 


stands in conversation with her, gesticulating with his left arm. 
A. wall at the back of the group is surmounted by a small 
shrine, beyond which rises a steep, woody hill. Its summit is 
crowned with ruins; among which may be distinguished the 
temple of Vesta, a campanile, and a square tower on the brink 
of the profile. The latter, fringed with delicate trees, slopes 
gently down across the composition to the right, where three 
slender trees entwine their stems and form a single canopy of 
loose, brownish-green foliage. Beyond the hill extends a flat 
plain, whose yellow tract is sprinkled at intervals with smoke 
wreaths and bounded by faint, gray hills. There is a simmer of 


; oe eines a _ ” = = ‘ rT F ms al tae aes - . = 
MY Fan ecg ee TY $ pe ee ee Sas — 


rose-tinted cream upon the horizon, and above it a sky of most 
delicate greenish blue, with puffs of warm white cloud. The — 


(c ) 


CATALOGUE 


picture is a memorable example of Wilson’s poetic art; a finely 
balanced composition, pure and rich in tone, with subtlety of 
atmosphere and spiritualized grace of sentiment. 


Height, 39 inches ; length, 494 inches. 


FoRMERLY IN THE CoLLEecTiIon oF Sir Henry Haw tey, Barr. 
ee ATO. 


Cee 


Saree oedema Sk 8 2TH amy aide 
Exursirep at tHE Royat Acapemy Exurprrion OF OLD Masters, 1879. 
<n nasieccenenesinnantssts 0 SST LA LAGI Le TEESE ONTO OTT, 


ih. 118 
hl. Ae 
Sie fs tenn FULLER, A.N.A. 


THE QUADROON 


Tuis picture has been reckoned among the best of George 


Fuller’s ideal representations of girlish beauty. The twilight 
_ descends, hazy with warm atmosphere; and, while some colored 
folk are still at work among the cotton-plants in the right-hand 
distance, a young quadroon sits resting beside her overturned 
basket. Leaning forward with her right arm on the raised right 
knee, and her left hand drooping over the left one, she gazes» 
before her with large wistful eyes; the shadowed mystery of 
her dark, glowing face being framed with long, curly, black hair. 
Where her loose chemise is open at the neck, a locket appears, 
suspended by a thin gold chain. The dull orange red of her’ 
skirt blends in rich harmony with the russet greens of the grass. 
The picture is distinguished by depth and resonance of tone; 
by breadth of treatment, wrought over subsequently with ex- 
treme subtlety, and by an earnestness and fulness of feeling that 
make it one of the most notable of the artist’s poetic creations. 


_ Signed at the lower left, G. Fuuuer. Height, 49 inches ; width, 394 inches. 
ee x (et ) 


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THE WARREN COLLECTION 


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No.9 y / Ky ante” 
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GEORGE INNESS, NX, A. 


EVENING, MEDFIELD 


Across the back of the foreground of brown grass, relieved 
with patches of bright green leaves, runs a road which passes 
round an old willow on the right. Between two tree stems on 
the left a red and white bull is approaching the spot where the 
road crosses over a wooden bridge that spans a hollow in the 
meadow. The road is skirted by a wall over the top of which 
appear the head and shoulders of a man, silhouetted against 
the brilliant lemon cream of the horizon. Further back on his 
left the roof of a white cottage nestles amid the russet greens — 
and dark olive of a clump of trees. The picture, painted in 1875, 
has a curiously interesting composition and is very We 
in tone. 


Signed at the lower right, G. INNess, 1875. Height, 38 inches; length, 63 inches. 


No. 120 


MICHAEL WOHLGEMUTH 


DEATH OF THE VIRGIN 


BENEATH a canopy of purple and gold, the Virgin is stretched 


upon the crimson coverlet of a bed, with her feet toward the 


(ci) 


CATALOGUE 


front and her head raised upon a brown pillow barred with 
white. A white drapery wraps her head, crossing under the 
chin; her eyes are closed; and the hands are crossed over her 
black robe, the right palm being exposed. To the right of her 
head stands a priest in crimson and gold embroidered cope, 
who holds a brass-bound book in one hand and blesses her with 
the other. By his side another man leans forward to place a 
palm branch upon the body; while two figures stand behind 
him and a third is bearing away the pyx, containing the viati- 
cum. Upon the hem of his garment is the inscription “orTAL- 
WIOTAN.” Two men are seated, reading; one, in the right of 
the foreground, having his finger to his forehead and a mole 
conspicuous on his cheek. On the left of the bed a figure is 
kneeling and two are standing; one of whom seems to be tell- 
ing off the moments on his fingers. A view of houses and trees 
appears through the door at the back and also through the 
window on the right of the chamber. 
In the predella the following inscription appears: 


Macy Ghrifti gebnrt 1479, am 
Freitag vor S Walburgen tag, 
verficyid die Erbar Fraw fjett- 
vig Volkamerin, der Hott que- 
dig vud barmberbig fen. 


A man is represented kneeling on the left and a woman on 
the right, each with a red rosary. The corners are occupied by 
their respective coats of arms; his being a half-wheel and fleur- 
de-lis quartered upon a sliield, with the crest of a half-wheel 
above, and hers two black bars over the head of a negro, the 


(eciii) 


THE WARREN COLLECTION 


crest being a negro’s head placed between two elephants’ trunks, 
divided into yellow and black bars. 

The picture is painted in clear, strong color with much com- 
mand of dramatic feeling. 


DN ew. A A No. 121 | gr 31) 


. PIERRE PUVIS DE CHAVANNES eR. S/ | 


' @ FEMMES A LA FONTAINE (La Source) iA § wy | 


Two women stand beside a rock, descending in ‘mossy tiers, 


from which issues a spout of water that pours into a brown 
earthenware jar. The hillside rises behind, dotted with small 


oak trees and traversed in the middle distance by a road, along — 
which are passing a woman with a baby on her back and a 
man on a white horse. Upon the summit a clump of trees 
shows against the blue sky. 


shy Nz bs 
aa er 


The women in the foreground, while both of classic a 
are dissimilar in. character; the one on the left belonging to 
the fields, the other being of stately refinement. The former’s 
heavier features are shaded by a Greek hat, and her torso, above 
the dull plum-colored drapery that passes around the legs and 
over one arm, is tanned by the sun. Her right hand, freely ex- 
tended, holds a bow upon the ground. The other woman, with 
her foot upon a stone, leans forward with elbow resting on her 
knee and hands clasped, gazing at her companion, her fair form 
exposed as far as the thigh. Despite some carelessness of draw- 
ing in the figures, the picture is an interesting example of Puvis’ 
power of detaching himself from the present and giving to his 
conceptions the verisimilitude of classic feeling. Its motive is 


( civ ) 


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extreme sity of design with x more reliance upon 


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lower left, P. Puvis pz Cuavannus. Height, 70 inches; midth, 57 inches. 


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THE AMERICAN ART ASSOCIATION 


MANAGERS 


Tuomas E. Krrsy, AUCTIONEER. . : 


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OTES AND INDE 


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BIOGRAPHICAL NOTES 
OF ARTISTS REPRESENTED AND AN INDEX 
OF THEIR WORKS 


BARGUE, CHARLES NUMBER 
Born in Paris, he began his career as a lithographer and was awarded 
medals for lithography in 1867 and 1868. Then he studied with | 
Gérome and became identified with genre subjects, distinguished by 
excellence of color and masterful technical execution. These pictures 
were never sent to the Salon and are very few in number. He died 
in 1883. B 
Turkish Sentinel ; 19 


BARYE, ANTOINE LOUIS 
A son of Paris, where he was born in 1795, Barye became a pupil 
of Bosio and Gros and of the Ecole des Beaux-Arts. But his real in- 
spiration came from Buffon, Lamarck, and Cuvier, and from the fine 


collection of animals in the Jardin des Plantes. So by his studies of ah 
_ animals he widened the range of French sculpture, at the same time rt 


strengthening the protest against the classic restriction of study to 

the nude human form, and illustrating the grandeur of broad and 

massive style over that of minute detail. He died in Paris in 1875. 
Tiger in Lair 5 

Stag Walking | 6 


BERCHERE, NARCISSE 
Born at Etampes in 1822. A pupil of Renoux and of Rémond, he has 
identified himself particularly with Oriental landscapes. Legion of 
Honor, 1870. ¢ 


The Walls of Jerusalem 61 


BONINGTON, RICHARD PARKES i 
An Englishman by birth, born near Nottingham in 1801, Boning- HY 
ton was at the age of fifteen taken to Paris by his father, a strug- 
gling portrait-painter. Thenceforth his life was spent in France and 
Italy, though his art in its poetic realism is akin to Constable’s, 
and with the latter’s exercised no inconsiderable influence upon the 


( cix ) 


THE WARREN COLLECTION 


NUMBER 
growing school of nature-painting in France. Delacroix was enthusi- 
astic over the genius with which he handled water-colors and oils, 
in subjects mostly of marine and landscape, though he also treated 


figures. His brilliant career was cut short by a sunstroke in 1828. 
Hillside ; 62 


BRETON, JULES ADOLPHE 
Born at Courriéres in 1827. He became a pupil of Drélling and De- 
vigne, marrying the latter’s daughter. From the appearance of his 
“Return of the Reapers” in 1853, he has been in the front rank of 
the French painters of peasant subjects. His works have a consider- 
able charm of poetic sentiment, though the criticism of Millet is 
apt that he paints girls too beautiful to live in the country. He has 
been an Officer of the Legion since 1867, and won all the honors 


that France can confer upon a popular painter. 


Brittany Peasant 59 


BREUGHEL, JAN. (Cattep “FLUwEELEN,” VELVET) 
The son of Pieter Breughel, the Elder, he was born at Brussels in 
1568. He was a pupil of his father until the latter’s death, when he 
was taught to paint in miniature by Pieter Koeck Van Aalst, finally 
obtaining instruction in oil-painting from Pieter Goekindt. His 
early pictures are of fruit and flowers executed with incredible deli- 
cacy; but, after his sojourn in Italy for three years, he added to his 
subjects landscapes, seaports, and markets, thronged with figures. 
He settled in Antwerp, was made a citizen, and became dean of the 
Artists’ Guild. Frequently he worked conjointly with Van Balen, 
Rottenhamer, and Rubens, with whom he was allied in close friend- 

_ ship. He died in 1625. 

Circe calling Ulysses 90 

BRUSASORCI, THE ELDER. (Reat Name, Domenico Riccio) 
Born in Verona in 1494. He was a pupil of Carotto, according to 
Ridolfi, or, according to Lanzi, of Niccolé Giolfino. Later he studied : 
in Venice the works of Titian and Giorgione, whose styles he learned . 


( cx ) 


BIOGRAPHICAL NOTES AND INDEX 


NUMBER 


to imitate, though not to the complete loss of his own individuality. 


His mural works are to be seen chiefly in Verona, the most notable 
being the “Entry of Clement VII and Charles V into Bologna,” 
which he painted in a hall of the Casa Ridolfi. He died in 1567. 


Lady in Venetian Costume 


CATENA, VINCENZO. (Reat Name, Vincenzo p1 Bacio) 

Born at Treviso about 1465. He was a pupil of the Bellini, and 
based his style on that of Giovanni. He worked in Venice, at first 
as a journeyman in the Sala del Gran Consiglio, but by his indus- 
try obtained a considerable reputation and the patronage of the 
wealthy. He died in Rome in 1531. 


Madonna 


CHARLET, NICOLAS TOUSSAINT 

Born in Paris in 1792. While studying with Gros he supported him- 
self by giving lessons in drawing. He was intimate with Géricault, 
and accompanied him to England in 1836. Genre subjects occupied 
his brush, but his most characteristic ones are military, in which 
he displayed his thorough acquaintance and sympathy with the 
Soldier of the Empire. He died in 1845. 


A Grenadier 


COLE, J. FOXCROFT 


Born at Jay, Maine, in 1837. Pupil of Lambinet and of Jacque, he 
achieved considerable reputation for his faithful rendering of native 
landscapes. Died in Boston in 1892. 

View of Boston Common 

View near Providence 


COROT, JEAN BAPTISTE CAMILLE 

Born in Paris in 1796, the son of a court modiste. He was sent to 
the high school at Rouen and then apprenticed to a linen draper, 
his father, after eight years’ opposition, finally yielding to his desire 
to be a painter, and allowing him a yearly maintenance of twelve 


hundred francs. He studied under Michallon and Bertin, accom- 


( cxi ) 


93 


94 


18 


40 
54 


THE WARREN COLLECTION 
NUMBER 


-panying the latter in 1826 to Italy. Here he practised and achieved 
the accomplishment of rapidly portraying the action of moving 
figures, a skill that he afterwards extended to the delineation of 
foliage stirred by air. His early pictures, whether of figures or land- | 
scape, are of the orthodox academical type, hinting at the future 
Corot only in the exceeding delicacy of their tonal effects and their 
increasing regard for the qualities of atmosphere. It was not until 
he had returned from his third visit to Italy, in 1843, that Corot — 
fell under the influence of Rousseau and discovered the charms of 
French landscape. In Provence, Normandy, and Fontainebleau, he 
studied nature, recommencing his artistic life at the age of forty 
and studying for eight years before the Corot that the world now 
recognizes as a master was finally evoked. Communing with nature 
in Ville d’Avray and painting in his studio in Paris, he produced 
during the next twenty-five years a series of masterpieces, distin- 
guished as much by truth to nature as by their exquisite poetry. 
The latter was an effluence of his own quiet happy spirit, and of 
the perennial youth of his soul, that found its pleasure in music 
and in nature and in the companionship of his friends. He lived 
with his sister, who died in 1874, and the old bachelor followed her 


the next year. “Rien ne trouble sa fin, c’est le soir d'un beau jour.” 


ee Gray Morning 26 
—« Lombardy Poplars | | evi 
——Regretiant la Patrie 73 
mm. Landscape with Tree 75 
aw. Paris seen from St. Cloud 109 
seuss OTpheus and Kurydice 114 


COURBET, GUSTAVE 
Born at Ornans in 1819. Originally destined for the law, he deter- 
mined in 1837 to become a painter and began to study under a 
local artist. When, two years later, he arrived in Paris, it was not 
to attach himself to any particular teacher; but by studying the old 


masters in the Louvre he acquired a power of execution full of bra- 


( exii ) 


me 


BIOGRAPHICAL NOTES AND INDEX 


vura. Massive in frame, he was a man of vigorous independence, 
riding full tilt at the theories of the day and proclaiming sole alle- 
giance to “la vérité vraie.” He first attracted attention by “Dinner 
at Ornans” in 1849, and thenceforth became one of the most no- 
table figures in French painting. At the Exposition of 1855, being 
dissatisfied with the placing of his pictures, he displayed them in a 
hut erected outside the gates. Again at the Exposition of 1867 he 
made a separate exhibit, and two years later a special room was set 
apart for his work at the Munich Exposition. He accepted the Bava- 
rian Order of St. Michael, and rejected the ribbon of the Legion of 
Honor. During the Commune he was elected Minister of the Fine 
Arts, and obliged to consent to the destruction of the Colonne Ven- 
déme, though he saved the Louvre. For this he was condemned to 
six months’ imprisonment, at the expiration of which he retired to 


Switzerland, where he died in 1877. 


Coast View 


DAUBIGNY, CHARLES FRANCOIS. 

Born in Paris in 1817. After studying with his father Edmé Francois, 
he visited Italy and on his return spent some time in the studio of 
Delaroche. From 1838 he was a constant exhibitor at the Salon and 
became identified with subjects drawn from the Seine, Marne, and 
Oise, navigating these waters in a floating studio. He had spent 
much of his childhood in the country near L’Isle Adam and, as an 
artist, turned unreservedly to nature study. The youngest of the 
Barbizon group, he entered into the harvest of recognition won by 
the older men. His art was delicately individual. He saw everything 
with the curiosity and love of a child, and despite his dexterity his 
work always retained a delightful spontaneity and freshness. His 
death occurred in 1878. 


~— River-bank,. Spring 


Landscape with Storks 
Marine with Yacht 


mmm Boats on Shore 


( cxili ) 


NUMBER 


4] 


29 
69 
72 
77 


THE WARREN COLLECTION 


DAUMIER, HONORE | : 
Born in Marseilles in 1808. During the bourgeois régime of Louis 


NUMBER 


Philippe, Daumier was the great caricaturist of politics, and later by 
his studies of misfortune and vice and of the street life of Paris 
achieved a wonderfully comprehensive record of his time. It has the 
value of historical data and is at the same time great art by reason 
of the largeness and simplicity of line, the form of characterization, 
and the avoidance of all triviality. He died at Valmandois in 1879. 


A Prison Choir ~ 410 
DECAMPS, ALEXANDRE GABRIEL 


A native of Paris, where he was born in 1803, Decamps became a 
pupil, successively, of Abel de Pujol, David, and Ingres. In his boy- 
hood he had spent many years upon a farm, and his love of the coun- 
try led him to shake off the principles of classicism and to study 
nature. A visit to Constantinople and the East with Garneray, a. 
marine painter, exercised a marked influence upon his ideas and style. 
A more romantic element crept into his pictures, a more fervent 
glow of color and greater fascination of light. He painted many kinds 
of subjects, though Oriental ones are his most characteristic works, 
and in all proves himself a painter to the finger tips. He was closely 
allied in art and comradeship with the Barbizon group, and died at 
Fontainebleau in 1860. 

Bazaars in Cairo 21 


Sunset,— Tombs near Cairo 42 


DELACROIX, FERDINAND VICTOR EUGENE 
Born at Charenton, near Paris, in 1799. Like Géricault, he was a 
pupil of the timid classicist, Guérin; though even then he was tak- 
ing counsel, not of the antique, but of Rubens and Veronese. He 
served as a model for the drowning man in Géricault’s “Raft of the 
Medusa,” and himself exhibited in 1822 “Dante’s Bark” —“in a pic- 
torial sense the first characteristic picture of the century.” It obtained 


a decisive success; but the “Massacre of Chios,” exhibited two years 


( cxiv ) 


BIOGRAPHICAL NOTES AND INDEX 


later, was described as “the massacre of painting.” Thus began the 
battle of the Romanticists. In 1825 Delacroix visited England. He 
was already fond of Shakespeare, Byron, and Walter Scott, and now 
through an English opera became acquainted with Goethe’s “Faust.” 
Henceforth these writers entered into the foreground of his works. 
A visit to Algiers and Spain in 1832 added fire to his imagination 
and brilliance to his palette. During a period of forty years, working 
with incredible energy notwithstanding feeble health, he produced 
nearly two thousand works, including such monumental decorations 
_ as the ceiling in the Louvre and the mural paintings in the Church 
of St. Sulpice. Shortly after the completion of the latter in 1863, he 
died; having, as Silvestre says, “sounded the entire gamut of human 
emotions, with a grandiose and awe-inspiring brush passing from 
saints to warriors, from warriors to lovers, from lovers to tigers, and 


from tigers to flowers.” 


Fight between Lion and Tiger 
The Flagellation 


we Herminie et les Bergers 


DIAZ DE LA PENA, NARCISSE VIRGILE 

He was born in 1807 at Bordeaux, whither his parents, who were 
Spanish, had taken refuge from the Revolution across the Pyrenees. 
Losing his father early, he was brought to Paris by his mother, who 
supported herself by giving lessons in Spanish and Italian. Through 
the bite of a poisonous insect he lost his leg and stumped the streets 
of Paris as a lame errand boy until he obtained employment in the 
porcelain factory at Sevres. But his independence cost him his posi- 
_ tion, and, thrown upon his own resources, he painted little figure sub- 
jects of nymphs. Finally he met Rousseau, whose influence drew him 
to Fontainebleau and to landscape. Now commenced the art on which 
his fame endures,—subjects drawn from the recesses of the Forest 
where the play of light was most enchanting, and rich harmonies of 
tone called forth his brilliant powers as a colorist. Often he would 
people them with figures, glowing masses of hue set amidst the ver- 


( cxv ) 


NUMBER 


116 


THE WARREN COLLECTION ea 


dure. In 1876 he was attacked with an affection of the chest and 
sought Mentone, but only to die there. 


Girl and Pet 24 

: Hunting Dogs BQ 
- Bohemians 67 
yo. Descent des Bohémiens — | 113 


DOMINGO, JOSE 
A Spaniard by birth, he was a pupil of Fortuny and Meissonier, to 


whose works his own bear some resemblance. 


The Card Players 15 


DORE, GUSTAVE PAUL 
Born in Strasburg in 1833. His drawings date from 1844, rk at 
fifteen years old he accepted a position in Paris upon the staff of 
the Journal pour Rire. The same year he exhibited some pen-and- 
ink drawings at the Salon. In 1855 appeared his first oil-painting, 
“Battle of the Alma,” but he did not attract notice until 1863, with 
“Paolo and Francesca da Rimini.” During the seventies he produced 
a series of colossal sacred subjects, which prove him to have been 
possessed of a wealth of imagination and an astounding facility of 


hand. He died in Paris in 1883. 
Man on Wooden Legs | 1 


DUPRE, JULES 
Born at Nantes in 1812. While engaged as a youth at the Sevres 
porcelain factory, he studied nature in his leisure hours, making in- 
numerable drawings. During a visit to England he became acquainted 
with the work of Constable, and his two pictures exhibited at the 
Salon in 1835 already proclaimed him a master. With Rousseau he 
became a prime force in the Barbizon movement, himself linking the 
new school of nature with the passing group of Romanticists, for the 
poetry inherent in his pictures is of an intensely passionate quality. 
He established his home at L’Isle Adam, making up for the scant 


( cxvi ) 


as 
a 


BIOGRAPHICAL NOTES AND INDEX 


NUMBER 
opportunities of his youth by constant reading, welcoming his friends 


and rarely missing his evening work. He died in 1889. 


Sunset 287 
women the Cliff 56 
- Twilight on the Seine 14: 
~ DUTCH SCHOOL, XVIT CENTURY 
An Interior 87 


FERRARIS, ARTHUR VON 

Born in Hungary in 1864, Ferraris at the age of eighteen entered the 
art school in Vienna. He became identified particularly with por- 
traiture, enjoying a great reputation. Having painted a portrait of 
the Emperor of Austria and Hungary, he was made a Knight of the 
Order of Francis Joseph, and later was admitted into the Order of 
the Crown by Emperor William II, the portrait which he painted 
of that monarch being one of his most striking works. 


Scene in Cairo 39 


FORTUNY Y CARBO, MARIANO 
Born at Réus, Catalonia, in 1838. From the Barcelona Academy he 
won the Prix de Rome in 1856, and Rome became thenceforth his 
principal place of residence. In 1859 he was sent to Morocco by the | 
Government to paint the incidents of General Prim’s expedition. In 
1866 he went to Paris and thence to Madrid, where he married the 
sister of Raimundo de Madrazo and studied the works of Velasquez, 
Ribera, and Goya. In water-colors and oils he was a technician of 
amazing versatility, who gave a new momentum to genre painting. 
Died in 1874. 

Street Scene | o 

Entrance to a Cave 35 

FROMENTIN, EUGENE 
Born in La Rochelle in 1820. As a youth he commenced the study 


of law, until acquaintance with Cabat, the landscape-painter, turned 
his attention to art. He studied with him and with Rémond, and 


( exvil ) 


gil 
_ The Escape 


ae 


: 


from 1846 to 1848 and in 1852 resided in Algiers, which gave the 


THE WARREN COLLECTION 


NUMBER 


particular bias to his motive. He became the painter of the Kast, 
expressing its brilliant spirit with the grace and delicate refinement 
of French technique. He was also a successful writer of romance, and 
in 1876 published the results of a tour through the galleries of Hol- 
land and Belgium in that classic of criticism “Les Maitres d’Autre- 


fois.” He died the same year at St.-Maurice, near La Rochelle. 
The Smokers 


Arabs at the Fountain 


FULLER, GEORGE, A.N. A. 


Born at Deerfield, Massachusetts, in 1822, the son of a farmer. At 
thirteen he was set to work in a store at Boston, having already dis- 
played an aptitude for drawing. 'T'wo years later he joined a railway 
survey in Illinois and then again returned to school. Still eager to 
be an artist, he next rambled through the smaller towns of New 
York State with his brother, executing portraits. Henry Kirke 
Brown, the sculptor, invited him to his studio in Albany, where he 
studied drawing for nine months. In 1846 he sold his first imagina- 
tive picture, “A Nun at Confession,” for six dollars, and in the fol- 
lowing year moved to New York. Here for ten years he worked, with 
occasional visits to Philadelphia and the South. In 1859 both his fa- 
ther and elder brother died and the care of the home-farm devolved 
upon him. But before entering upon his duties he made a tour of five 
months, visiting London, — where he met Rossetti and Holman Hunt, 
—Paris and the chief cities of Germany, Italy, Belgium, and Hol- 
land. Then for fifteen years he disappeared from the world, and lived 
the life of a farmer. Financial trouble forced him once more into the 
field of art, and it then transpired that in his retirement he had been 
steadily laboring at his art, until he had found for himself an indi- 
vidual style that could adequately express the deep, tender sentiment 


@exxi1®) 


22 
53 
64 


g 
4 


BIOGRAPHICAL NOTES AND INDEX 


NUMBER 


of his conceptions. During six years he produced a series of beautiful 
works, which were cut short by his death in 1884. 

The Little Dunce 

The Quadroon 


GAINSBOROUGH, THOMAS, R. A. 


The son of a clothier, Gainsborough was born in 1727 at Sudbury in 
Suffolk, fourteen miles from the birthplace of Constable. Making little 
progress at the local school, he was sent to work with a goldsmith in 
London, through whom he made the acquaintance of Gravelot, an 
engraver. ‘The latter recognized his inclination for drawing, instructed 
him, and procured him admission to the St. Martin’s Lane Academy. 
After an ineffectual effort to make a start as a portrait-painter in 
London, he returned home and married a young lady of moderate 
means, Mary Burr, with whom he moved to Ipswich. For fifteen 
years he resided here, painting portraits for a livelihood and land- 
scape for pleasure; when, by the advice of friends, he moved to Bath. 
In this fashionable watering-place his success was immediate and he 
had extended opportunity for indulging his passion for music. He 
was a foundation member of the newly founded Royal Academy, and 
regularly contributed to its exhibitions, so that when he transferred 
his studio to London in 1784, he was at once hailed as the rival of 
Reynolds. He died in 1788 and was buried in the churchyard at Kew. 
Landscape 

Constantine John Phipps 


GALLAIT, LOUIS 


Born at Tournay in 1810. After studying at the academy in his native 
city, he won the first prize at Ghent in 1831, and then proceeded to 
the Antwerp Academy. In 1834 he went to Paris, where his portraits 
and historical pictures were highly esteemed. His “Abdication of 
Charles V,” painted at Brussels in 1841, placed him at the head of 
Belgian historical painters. Died at Brussels in 1887. 


A Young Mother 


(pexix 4) 


118 


66 
103 


31 


NUMBER 


THE WARREN COLLECTION 


GERICAULT, THEODORE 

Born at Rouen in 1791. During his short stay in the studio of Charles 
Vernet, he had already taken an interest in cavalry and begun those 
studies of horses which he continued through his life. Afterwards, 
while working with Guérin, he found time to study the old masters 
in the Louvre and especially Rubens. In 1812 appeared the “ Mounted 
Officer,” and two years later the ‘‘Wounded Cuirassier.” In 1817, 
after serving three years in the army, he visited Italy and on his 
return produced “The Raft of the Medusa.” Its success in London 
induced him to visit England, where he painted “'The Race for the 
Derby.” Soon after his return to France he was thrown from his’ 
horse, injuring his spine; and after lingering suffering died two years 
later, in 1824. 

Horses in Stable | 44. 


GEROME, JEAN LEON 
Born in Vesoul in 1824, A pupil of Paul Delaroche, he accompanied 
his master to Italy and upon his return studied with Gleyre. He 
failed to secure the Prix de Rome, but won a third-class medal for 
his “Cocks Fighting,” in 1847. Then he visited Russia and Egypt, 
bringing back from the latter a large stock of pictures, which in- 
stantly established his reputation. During the next twenty years he 
alternated Oriental subjects with classical pictures, such as “Phryne 
before the Tribunal” and the ‘‘Death of Cesar,” which placed him 
in the front rank of contemporary historical and genre painters. He 
has been an indefatigable student of the manners and accessories of 
the various periods which he paints, is a learned draughtsman and a 
master of characterization, and has reaped every honor that France 


bestows upon a favorite painter. 


L’Eminence Grise 55 


GOYA Y LUCIENTES, FRANCISCO JOSE DE 
Born at Fuendetodos, Aragon, in 1746. At fourteen, having already 
painted frescoes in the church of. his native place, he went to Sara- 


CCK’) 


BIOGRAPHICAL NOTES AND INDEX 


NUMBER 
gossa, as an apprentice. Falling foul of the Inquisition, he fled to 
Italy, where for several years he resided in Rome, until through a 
commission to design cartoons for the Spanish manufactory of tap- 
estries he was brought into contact with the Court. He returned to 
Madrid, was elected a member of the Academy of San Fernando 
and later appointed Painter to the King and Director of the Madrid 
Academy. His brilliant audacity found vent in pungently satirical 
etchings, such as “ Los Capriccios” and “ Miséres de la Guerre”; while 
his paintings included religious subjects and portraits. Some of the 
latter are especially fine and in his rendering of young girls the irony 
of his temperament yields to a seductive grace. He died in Bordeaux 
in 1828. 


Head of a Young Girl 83 


GREUZE, JEAN BAPTISTE 

Born at Tournus, near Macon, in 1725. After studying with Grandon 
at Lyons, he entered) the Academy School in Paris, 1755, and the 
same year exhibited “Father reading the Bible to his Children.” It 
was greatly admired, and at the close of the year he was taken to 
Italy by the Abbé Goujenot. After his return he exhibited at the 
Salon, until in 1767 he retired from Paris, indignant that he should 
have been received into the Academy, not as a painter of historical 
but of genre subjects. He returned, however, and exhibited in his 
studio, his pictures attracting all Paris. The times were witnessing 
a reaction from the previous licentiousness of the Court, and it was 
Greuze’s métier to paint the beauty of virtue, the sentiment of a 
happy and innocent bourgeoisie. Thus he was the father of French 
genre painting, though he lives to-day mainly through his ideal 
heads of girlish beauty. He amassed a large fortune, which, however, 
was lost at the Revolution. He died, neglected and in poor circum- 
stances, in 1805. 


Head of a Young Girl _ 102 


GUIGNET, ADRIEN 


Born at Annecy, Savoy, in 1816. He was a pupil of his brother Jean 
(*¢exx1: ) 


THE WARREN COLLECTION 


: NUMBER 
Baptiste and also of Blondel; and took Salvator Rosa and Decamps 
for his models. Died in Paris in 1854. 


A Condottiere 80 | 


HAAG, KARL 
Born at Erlangen, Wirtemberg, in 1820. After working in the Nu- 
remberg Art School, he continued his studies in Munich and Rome; 
and in 1847 went to England, where he confined himself to water-— 
colors. In 1858 he visited the Libyan Desert, dwelling among the 
Bedouins, and has since visited Egypt and other parts of the Kast. 


A Montenegrin Lady 81 


HARPIGNIES, HENRI 
Born at Valenciennes in 1819. He was a pupil of Achard and has 
exhibited regularly since 1852, winning his full complement of honors. 
Both in oils and water-colors he holds rank amongst the foremost 


living French landscapists. 


L’Etang, Clair de Lune ~ 50 


HELST, BARTHOLOMEUS VAN DER 
Born at Haarlem in 1613 (?). He may have studied under Frans Hals 
or taken the latter for his model, and seems also to have been in- 
fluenced by De Keyser. At any rate, he stands apart from the men of 
his time, who were following Rembrandt. He was a realistic painter, — 
whose portraits were highly esteemed by his contemporaries and rank 
to-day among the best of their kind. He lived chiefly at Amsterdam, 
where he and Nicolas Stokade founded a guild of St. Luke. His 
principal works are to be seen in the Gallery and Hotel de Ville of 
that city. He died in 1670. 
A Burgomaster’s Wife 95 


HENNER, JEAN JACQUES 
Born in Bernwiller, Alsace, in 1829. After studying for some years 
with Gabriel Guérin at Strasburg, he entered the Fcole des Beaux- 
Arts and became a pupil of Drélling and of Picot. Winning the Prix 
de Rome in 1858, he spent five years in Italy, afterwards painting in 


(tex i) 


BIOGRAPHICAL NOTES AND INDEX 


NUMBER 


Dresden and travelling in Holland. His “Susannah,” in 1865, aroused 
enthusiasm and succeeding pictures established his reputation as the 
painter of the nude and of female ideal heads. 


La Plewreuse 


HOOGHE (or HOOCH), PIETER DE 

Born in Rotterdam, probably in 1632. He formed his style under 
the influence of Fabritius and Rembrandt and worked at Delft, where 
he became a member of the Guild in 1655. He was one of the most 
original painters of the Dutch School; fond of red as a local color 
and introducing it with great delicacy of distinction in various planes 
of distance. He was a master in the delineation of atmosphere and 
in the play of light and shade. His death appears to have occurred 
in Haarlem in 1681. 


Dutch Interior 
HUNT, WILLIAM MORRIS 


Born at Brattleboro, Vermont, in 1824. It was his original intention 
to be a sculptor and with that idea he studied for nine months in 
Diisseldorf. Thence he went to Paris and entered the studio of Cou- 
ture. But it was not until he made the acquaintance of Millet at 
Barbizon that his sympathies were truly aroused. Upon his return 
home, he brought back many of that artist’s pictures and was the 
first to make the Barbizon pictures known and valued in this coun- 
try. He opened a studio in Newport, Rhode Island, and later moved 
to Boston, where he became the centre of an enthusiastic band of 
students and amateurs. His last works were the frescoes of ‘‘Morn- 
ing” and “Evening” in the Capitol at Albany. They were executed 
under great pressure of time, which told upon his strength, and on 


September 8, 1879, he died at the Isles of Shoals. 


Wood Interior, Artichoke River 
Head of a Spanish Woman 
Sleepng Mother and Child 


( cxxill ) 


20 


97 


23 
82 
111 


THE WARREN COLLECTION 


MNES JEAN AUGUSTE DOMINIQUE 
Born at Montauban in 1780. After studying with Roques in Tou- 
louse, he became a pupil of David in Paris, and upon the latter’s: 


NUMBER 


death kept alive the classic principles of that master. He won the 
Prix de Rome in 1801, but being unable to go to Italy in conse- 
quence of the war, studied the pictures in tlte Louvre for five years, 
meanwhile supporting himself by giving lessons in drawing. In 1806 

he was able to proceed to Italy, where for fourteen years he lived in 
Rome, studying the works of Raphael with devotion, and after-_ | 
wards living for four years in Florence. Then he returned to France 
and enjoyed a great reputation until his death in 1867. He was one 
of the first draughtsmen among French artists, and some of his por- — 


traits are masterpieces of characterization. 


Cardinal Bibbiena espousing his Niece to Raphael 52 


INNESS, GEORGE, N. A. 

Born at Newburgh, New York, in 1825. His fiber a retired grocer, 
would have opened a store for him, but his mind was set on art. He 
was apprenticed to an engraver, but the work proving too severe for 
his strength, he took up painting, receiving a little help from Regis 
Gignoux. But he was really self-taught. At the age of twenty-five 
he made his first visit to Europe and fell under the spell of the 
Barbizon painters, whose work endorsed his own strivings after na- 
ture study. From this time forward his progress was logical, sound, 
and brilliant, continually towards breadth and simplification and 
an impressionistic rendering of the poetic feeling with which nature 
inspired him. He had a powerful but erratic mind,—at one time 
plunging into the study of Swedenborg, — always eager and restless; a 
soul of energy within a frame constantly harassed by ill-health. He 
died in 1894, during a visit to Scotland. 

Evening, Medfield | 119 


INNESS, JR., GEORGE, N. A. 
Born in New York in 1854. A pupil of his father and for a few months 


( cxxiv ) 


# 0 @ i aie eee ee 2 oe 
\ ot il alae “ 
’ 


BIOGRAPHICAL NOTES AND INDEX 


NUMBER 
of Bonnat, he has painted in various parts of Europe and won dis- ! 
tinction in animal and landscape subjects. 


Hunting Scene : 58 


ISRAELS, JOSEF 

~ Born at Gréningen, North Holland, in 1824. As a boy he wished 
to be a rabbi, but on leaving school entered his father’s small bank- 
ing business, and in 1844 went to Amsterdam to study under the 
fashionable portrait-painter, Jan Kruseman. But it was the ghetto 
of the city, swarming with life, that affected his imagination. The 
following year he proceeded to Paris and worked under Picot and 
Delaroche, entering the latter’s studio shortly after Millet had left 
it. Like Millet, he had no inclination for “grand painting,” and, 
though he tried to practise it upon his return home, it was in the 
little village of Zandfoord, whither he went for his health, that he 
discovered his true bent. Again, like Millet, he found his inspira- 
tion in the lives of the poor; but, unlike the French master, invests 
his subjects with intimate peace and lyrical melancholy, veiling his 
figures in an exquisite subtlety of subdued atmosphere. Amongst the 
moderns he is “one of the most powerful painters and at the same 


time a profound and tender poet.” 


A Cottage Madonna 37 


JACQUE, CHARLES EMILE 

Born in Paris in 1813. In early life he was apprenticed to a map- 
engraver. After serving his time in the army, he practised wood- 
engraving and then passed to etching, in which he proved himself 
a master. He began to paint in 1845, but it was not until the Salon 
of 1861 that any of his pictures received a medal. From now on his 
subjects of sheep and poultry were in great demand. He was an en- 
thusiastic fancier of fowls, breeding them and writing a book upon 
the topic. He died in 1894, the last survivor of the Barbizon bro- 
therhood. : 


The Poultry Yard 51 


("exxy) 


THE WARREN COLLECTION 


JOHNSON, EASTMAN, N. A. 
Born in Lovell, Maine, in 1824. In 1849 he commenced a two years’ 


NUMBER 


course at Diisseldorf and later studied and painted in Italy, Paris, 
Holland, and, for four years, at The Hague. He has been a member 
of the National Academy since 1860. He has painted some fine por- 
traits, but is more widely known by genre subjects of American life. 


He is a tonalist of great distinction and a skilful technician. 
The Culprit 33 


JONGKIND, JOHAN BARTHOLD 

Born at Latrop, Holland, in 1822. He was a pupil of Isabey, and 
as early as 1852 received a third-class medal at the Salon, after 
which his pictures were rejected. He was one of the influences under 
which Monet came early in his career, and represents a link be- 
tween the group of Fontainebleau artists and modern Impressionism. 
For he still retained the architectonic composition of his picture, 
but was thoroughly modern through his feeling for transparent air. 
He painted the old canals of Holland, the tortuous streets of Brus- 
sels and Toulon, the river life and ‘Quartier Latin in Paris, and 
the landscape of Nivernais. He died at Céte Saint André in 1891. 
Near Dordrecht | 38 


KNAUS, LUDWIG 
Born at Wiesbaden in 1829. From 1846 to 1852 he was a student at 
the Diisseldorf Academy under Sohn and Schadow, then spent a year 
in Italy and about the same time in Paris, his technical ability be- 
ing highly appreciated by French critics. After settling in Berlin for 
five years, he moved to Diisseldorf, to return, however, to the former 
in 1874 as a professor of the Academy. He has exercised a great 
influence on the younger Diisseldorf school and been recognized as 
the foremost genre painter in Germany. 
A Young Satyr | 16 
LAFARGE, BANCEL 
Born at Newport, Rhode Island. After a course of study in the Medi- 


(UGX sy 1.8) 


—see pS p - 5 
| an 
i 
oe 


BIOGRAPHICAL NOTES AND INDEX 
NUMBER 


cal Schools he entered the studio of his father, John Lafarge. After 

_ being pupil, he became collaborator in the latter’s stained glass dec- 
orations. Since 1899 he has studied the figure with Sergeant Kendall, — 
and devoted much attention to marine painting. 


Surf at Narragansett 2 
LAFARGE, JOHN, N. A. 


Born in New York in 1835. He received a classical education, and his 
father’s house in Washington Square was a rendezvous of cultivated 
people, many of them émigrés of the French Revolution or refugees 
from St. Domingo. He was taught to draw by his grandfather, Binsse 
Saint-Victor, a miniature painter of some talent. Visiting Europe, he 
continued the study of art, as an accomplishment, and presented 
himself to Couture, who recommended him to copy the drawings of 
the old masters. This he did with assiduity at the Louvre and in 
Munich and Dresden. Next he made a short stay in England, where 
the color-aims of the pre-Raphaelites attracted his interest. Return- 
ing home, he entered a lawyer's office, until finally,.by the advice of 
William Morris Hunt, he determined to take up art as a profession. 
He first settled at Newport, Rhode Island, subsequently moving to 
New York. He passed from landscape to figure subjects, and among 
his early works drawings such as those in illustration of Browning's 
poems take high rank. A commission to decorate Trinity Church, 
Boston, was the commencement of a long series of noble mural paint- 
ings. But the distinctive feature of his career was the application of 
opal glass to stained glass windows, whereby he has created a new 
art, which gives abounding opportunity to his extraordinary power 
as a colorist. He has proved himself also a graceful writer and a 
critic of eminent distinction. 


Fisherman and Djinn 9 
A Cup of Cold Water 10 
Dance on the Beach, Samoa 11 
Angel 12 
St. Elizabeth 13 


( cxxvii ) 


THE WARREN COLLECTION 
The Wise Virgin 
Old House, Newport 
Afterglow 
LAMBINET, EMILE 
Born at Versailles in 1815. He was a pupil at first of Boiselier and 


later of Drélling and Horace Vernet. His landscapes were awarded 
medals at the Salon, and in 1867 the ribbon of the Legion. He died 
at Bougival in 1878. | 


Lock on the Seang re near Bougival — | 46 8 


LANDSEER, CHLARERS, R. A. 
Born in 1799, the son and pupil of John Landseer, an engraver and 
elder brother of Sir Edwin. He studied also under Haydon and at 
the Royal Academy schools. He is represented in the National Gal- 
lery by “Sacking of Basing House” and ‘‘Clara Harlowe in the 
Sponging House.” He died in London in 1879. | 
The Little Actress ; 63 
LAWRENCE, SIR THOMAS, P. R. A. : 7 
Born in 1769 at the White Hart Inn, Bristol, of which his father, 
the son of a clergyman, was landlord. Drawing came to him as a 
natural gift, and, as the lad’s proficiency increased, his father took 
him to Oxford and Bath, following the seasons of fashion and se- 
curing him sitters for pastel portraits. In 1787 he began to study 
at the Royal Academy, receiving advice from Reynolds. His first 
marked success in oils was the portrait of “Miss Farren,” painted 
about 1790, which secured him the patronage of the king. The latter 
insisted on his admission as an Associate of the Academy, though 
under the prescribed age, and in 1794 he was elected a full Acade- 
mician. He settled down in Old Bond Street and entered upon a 
career of extravagant expense which left him short of money through- 
out his life, although his success was phenomenal. He was favored 
by the Prince Regent, afterwards George IV, and painted all the 
notables of the time. The Academy of St. Luke elected him as a 


( cxxvili ) 


a Si : 


BIOGRAPHICAL NOTES AND INDEX 


member, as also did the newly founded American Academy of Fine 
Arts, and those of Venice, Vienna, Florence, and Denmark. At the 
Congress of Aix-la-Chapelle he was commissioned to paint the por- 
traits of the allied sovereigns. He was elected President of the Royal 
Academy in 1820, from which year dates the ripest period of his art, 
that was suddenly concluded by his death in 1830. He was buried in 
St. Paul’s Cathedral. 
/ Portrait of John Singleton Copley, Lord Lyndhurst 105 
7A Portrait of Lady Lyndhurst 106 
_ LUMINAIS, EVARISTE VITALE 
Born at Nantes in 1822. His teachers were Léon Cogniet and Troyon ; 


and he has chiefly devoted himself to scenes of Breton life and to 
pictures of the Gothic barbarians. 


NUMBER 


Teutons crossing the Rhine 36 


_ MAUVE, ANTON 3 | 

Born at Zaandam, Holland, in 1838. He studied with P. F. Van Os, 

and his early pictures showed the painstaking finish of that master. 
Gradually, however, as he became a student of nature his art grew 
broader and more impressionistic, charged with a delicate sentiment 

and tonality. His pictures won medals at the Salon and have found 
their way into the great collections of Europe and America. He died 

in 1888. 

Donkey and Cart 34 


METSU, GABRIEL 
Born in Leyden in 1615. He was the son and probably a pupil of 
Jacob Metsu, a Fleming who had settled in Holland. Later he passed 
under the influence of Gerard Dou and Rembrandt. In 1648 he was 
admitted to the Guild, but two years later left his native city and 
settled in Amsterdam, where he married and was received into citizen- 
ship. He painted subjects chiefly of the upper classes of society, but 
represented also market-scenes, huntsmen, cook-maids, and the like. 
_ He also treated mythological and allegorical subjects. Died in 1667. 
a Young Violinist | 99 


(cxxix ) 


THE WARREN COLLECTION 


MICHEL, GEORGES | 
When Michel died in 1843, his works were known fe ise a narrow 
circle of art-lovers and it was not until the Exposition of 1889 that — 
the world recognized him as a genius, long misunderstood. He was 
born in Paris in 1763; shirked school to sketch in the fields; ran 
away with a laundress at fifteen; was already the father of five 
children at twenty; married again at the age of sixty-five, and 
worked to his eightieth year. He is said to have exhibited classical 
landscapes until 1814, when he was rejected from the Salon for his & 
revolutionary tendencies. As a restorer of pictures many Dutch pic- a 
tures passed through his hands, and he learned from’ them to study — | 
nature and to find enough material close to his hand. In large and 
serious conception, in the breadth and fulness of his brushwork, 
he is a genuine offspring of the old Dutch masters and a forerunner 


of Rousseau. 


After the Shower : | 49 


MILLET, JEAN FRANCOIS . 
Born at Gruchy, near Cherbourg, in 1814. He worked upon his fa- 
ther’s farm until he was twenty, in his leisure moments drawing con- 
stantly in charcoal. It was then decided that he should take lessons 
with Mouchel and Langlois in Cherbourg. But two months later his 
father died and he again resumed his work upon the farm. Three 
years later a subsidy from the town of Cherbourg enabled him to go 
to Paris, where he entered the studio of Delaroche. But he had as 
little sympathy with the Romanticists as with the Classicists, his ear 
being haunted by “le cri de la terre.” He left the master and for a 
livelihood painted little nudes and figure subjects, until in 1848 he 
produced his first peasant picture, “The Winnower.” It was sold, and 
Millet resolved henceforth to follow his own instincts. With Jacque 
he joined the colony at Barbizon, being then thirty-five years old. 
For seven years he sold his pictures with difficulty; even after 1855 
they brought exceedingly small prices and he was excluded from the 
Salon for yet ten years more. At the Exposition of 1867, however, 


(cox mx ) 


ori i ia $ = ~~ 
oid i . 


a? 


7 


NEER, AART VAN DER 


BIOGRAPHICAL NOTES AND INDEX 


NUMBER 


he was awarded the great medal, and at the Salon two years later 
was a member of the hanging committee. He died on January 20, 
1875, and was buried near Rousseau in the churchyard of Chailly. 
Coming from the Fountain 

The Shepherdess 

Peasant Woman and Child 

Gardeuse de Chévres en Auvergne 


MOORE, ALBERT 


Born in York, England, in 1840. He was a son and pupil of William 
Moore and later of the school in York and of the Royal Academy. 
His province was ancient Greece, but he did not attempt to recon- 
struct classical antiquity as an archeologist. He used it merely as a 
basis of beauty, and introduced into it the soft tones and delicate 
harmonies that he had studied from the Japanese. He died in 
London in 1892. 


Hair-pins 


MORLAND, GEORGE 


Born in London in 1763. The son of a portrait-painter, he received 
instruction from his father, studied at the Academy schools, and as- 
siduously copied the Dutch and Flemish pictures. As early as 1779 
his sketches were exhibited at the Academy. At nineteen he threw 
off all home ties and began a career of recklessness. For a time he 
was the slave of a picture-dealer, from whom he escaped to France. 
Later he lived with his friend William Ward, the mezzotint engraver, 
whose daughter he married. His pictures, distinguished by truthful- 
ness of representation, skilful technique, and qualities of color and 
light, were prized during his own life and are still sought by con- 
noisseurs. Died October 29, 1804. 


Reading the News 


- 


Born at Amsterdam in 1603. He was a friend of Cuyp, who occa- 
sionally supplied the figures in his landscapes, as in the fine example 


(¢xxxi-:) 


25 
76 
78 
108 


98 


THE WARREN COLLECTION 


NUMBER 
in the National Gallery. His favorite subjects were canal scenes, in 
which he shows a preference for effects of moonlight and twilight. 
He died at Amsterdam in 1677. 


Harbor Scene, Holland : 91 
NORTON, W. E. 

An English water-color painter of considerable reputation. 

Beached at Low Tide | 4 


PASCUTTL SA; 
An Italian genre painter. Pupil of the Academy of Fine Arts, 


Venice. 
The Duet 60 
PERUGINO, SCHOOL OF 


Madonna and Child 100 


PUVIS DE CHAVANNES, PIERRE 
Of Burgundian parentage, Puvis was by training a Lyonnais, for he 
was born at Lyons in 1824, his father being engineer of bridges and ~ 
roads. Thus, to a poetic temperament was joined a scientific educa- 
tion. After completing his studies at Lyons, he entered the Lycée 
Henri IV and later the Ecole Polytechnique. He paid a visit to 
Italy and then joined the atelier of Henri Scheffer. A second visit 
to Italy followed, and brief attendance in the studios of Delacroix 
‘and Couture. During his travels in Italy he was particularly influ- 
enced by the works of Piero della Francesca, Fra Angelico, Signorelli, 
and Ghirlandajo. In.1861 he executed for Amiens the first of his 
mural decorations, which was followed by other monumental works 
at Amiens, Marseilles, and Lyons, in the Panthéon and Sorbonne in 
Paris, the Boston Public Library and elsewhere. It was not until 
1890 that official recognition was bestowed upon his work, when the 
long-deferred triumph found him as undisturbed by success as by 
neglect. In 1896, two years before his death, he married the Princess 


Cantacuzene, an intimate friend of thirty years, but their union lasted - 


( exxxii ) 


BIOGRAPHICAL NOTES AND INDEX 


NUMBER 
little more than eighteen months. When she died, he survived only 7 
a few weeks. 
The Elder Sister eet hes 
Femmes a la Fontaine (La Source ) 121 


REYNOLDS, SIR JOSHUA, P.R. A. 

A native of Plympton in Devonshire, where he was born in 1723, 
Reynolds went to London at the age of seventeen and became ap- 
prenticed to Hudson. Two years later he established himself as a 
portrait-painter in Devonport, and in 1744 moved his studio to 
London. In 1749 Commodore (afterwards Admiral) Keppel invited 
the young painter to accompany him to the Mediterranean, and 
he was thus enabled to spend four years in Italy, during which he 
studied the old masters to such purpose that his own work re- 
produced their qualities. Subsequently he added to his research of 
Italian art that of the Dutch, and in his discourses delivered before 
the Academy proved himself a master of penetrating criticism. He 
founded “The Club,” and in 1768 was elected first President of the 
Royal Academy. Angelica Kaufman having declined his hand, he 
remained a bachelor and in his splendid house in Leicester Square 
lived luxuriously, on terms of familiarity with the greatest men of 
his day. He died in 1792 and received a public funeral in St. Paul’s 
Cathedral. 


F Portrait of Lady Hervey of Bristol . 104 


RIBOT, AUGUSTIN THEODULE 
Born at Breteuil in 1823. He married early and supported himself 
by painting frames for a manufacturer of mirrors, meanwhile edu- 
cating himself in drawing and painting by lamplight at night. His 
first pictures, from 1861 to 1865, were for the most part scenes from 
the household and kitchen. Then he painted religious subjects in a 
realistic manner and finally became identified with figure subjects, 
which are plunged in darkness, pierced by a gleam of light. He died 
at Colombes, near Paris, in 1891. Among the followers of Courbet 


( exxwiil ) 


THE WARREN COLLECTION 


| NUMBER 
he was one of the strongest, and, as a painter, among the best of 
modern Frenchmen. | 


The Chastisement 48 : 


ROUSSEAU, THEODORE 

Born in Paris, April 15, 1812. Son of a tailor, he showed early 
a taste for mathematics, and aimed at becoming a student in the 
Polytechnique. He entered, however, the studio of the classicist, 
Lethiere, but, failing to secure the Prix de Rome, shook off the dust 
of academical traditions, and sought nature for a teacher on the 
plain of Montmartre. Even his first little picture, “The Telegraph 
Tower” of 1826, announced his desire to be a naturalist. His first ex- 
cursion to Fontainebleau occurred in 1833, and in 1834 he painted 
his first masterpiece, ‘“‘Cotés de Grandville.” It was awarded a third- 
class medal at the Salon, but the following year his pictures were 
rejected. He was considered to be a dangerous innovator, and it was 
not until thirteen years later, when the academic committee as well 
as the bourgeois king had fallen before the Revolution of 1848, 
that the Salon was open to him again. These had been years of 
penury, in which, however, his powers had ripened fully, and he had 
become recognized as the “‘Eagle” of the little group at Barbizon. 
But he still had to contend with the prejudice of officialdom and of 
the public, and it was only at the Exposition Universelle of 1855 
that the world began to realize he was indeed a master. By this time 
the evening of life was upon him, and it was clouded by the domes- 
tic sorrow of his wife’s insanity. In tending her he spent his strength, 
and when, at the Exposition of 1867, the officership in the Legion 
was withheld,—an honor that was his due, since he had served as 
president of the jury,—his spirit was broken, and he died the same 
year. He lies buried in the churchyard at Chailly, on the edge of 
the Forest, and upon the “Barbizon Stone” a panel in bronze, 
executed by Chapu, bears the sculptured portraits of himself and 
Millet. 


womm, Sunset Landscape 27 


( cxxxiv ) 


BIOGRAPHICAL NOTES AND INDEX 


NUMBER 
Sunday Twilight 70 
w= A Plain in Berri—Sunset 19 


RUBENS, PETER PAUL 


Born at Siegen in 1577, on the Festival of SS. Peter and Paul. His 
father was one of two principal magistrates of Antwerp, and his 
mother, Mary Pypeling, belonged to a distinguished family of the 
same city. His genius for drawing was early displayed, and, after 
studying with Adam Van Noort, he passed four years with Otto 
Veenius, painter, poet, and scholar. In 1598 he was admitted to the 
Guild of painters in Antwerp. In 1600 he went to Venice and studied 
the works of ‘Titian and Veronese, attracting the notice of the Duke 
of Mantua, in whose service he remained for eight years. His know]- 
edge of Latin and proficiency in many languages procured him many 
diplomatic engagements. Returning to Antwerp in 1608, he was ap- 
pointed Court Painter to the Archduke Albert, Governor of the 
Netherlands. In 1620 he visited Paris at the invitation of Maria de’ 
Medici, and in 1628 was sent on a mission to Spain and the follow- 
ing year to the Court of Charles I of England. In 1609 he had mar- 
ried his first wife, Isabella Brandt, and four years after her death, in 
1630, took for second wife her niece, Helen Fourment. Both served 
him frequently for models. He died in 1640 and was buried in his 
private chapel in the Church of St. Jacques. 


Christ's Ascension 


SCHALKEN, GODFRIED 


Born at Dordrecht in 1643. A pupil of Samuel Van Hoogstraten and 
Gerard Dou. He visited England and there executed small portraits, 
among them one of William III. Occasionally he painted historical 
pictures, but his best works are genre subjects, lighted with artificial 
light. He died at The Hague in 1706. 


Wise as a Serpent 


\ 


SCHREYER, ADOLF 


Born in Frankfort-on-the-Main in 1828. He studied first at the Stidel | 


( cxxxv ) 


89 


88 


THE WARREN COLLECTION 


NUMBER 
Institute at Frankfort and then successively 'in Stuttgart, Munich, 

and Diisseldorf. Always fond of horses, he studied them anatomically 

and in the riding school. In 1848 he travelled through Hungary, 
Wallachia, and Southern Russia with Prince Thurn and Taxis and 

six years later accompanied the Austrians in their march through 

the Danubian principalities. He visited Syria and Egypt in 1856 and 
Algiers in 1861. Upon his return he settled in Paris until 1870, when 

he acquired the estate of Kronberg, near Frankfort. Between this 

and Paris he divided his residence until his death in 1899. 


Return of the Foragers 14 


TOL, DOMINICUS VAN 
Born at Bodegraven, between 1631 and 1642. He was the nephew 
and pupil of Gerard Dou, whose manner he closely imitated. He 


died at Leyden in 1676. 
The Cobbler : 92 


TROYON, CONSTANT 

Born at Sevres in 1810. His labors in the porcelain factory, the 

_ classical views with which he made his first appearance at the Salon 
in 1833, and the impulse derived from Roqueplan were the incidents 
of his youth. The real direction of his art was found when he made 
the acquaintance of Rousseau and Dupré at Fontainebleau. “Here, 
in the first instance as a landscape-painter, he was attracted by the 
massive forms of cattle, which make so harmonious effect of color 
in the atmosphere and against the verdure, and the philosophic 
quietude of which gives such admirable completion to the dreamy 
spirit of nature.” A journey to Holland and Belgium in 1847 con- 
firmed him in his resolve to devote himself exclusively to this branch 
of painting. His “Oxen going to Work,” painted in 1855, now in 
the Louvre, represents him in the zenith of his power. But apart 
from his cattle subjects he still stands forth in the very first ranks 
of French landscapists. He died in Paris in 1865. 


Coast near Villiers 115 


( cxxxvi ) 


BIOGRAPHICAL NOTES AND INDEX 


a NUMBER 

. UNKNOWN 
Still Life 85 
Portrait of Martin Luther : 86 
Harbor View 96 
Portrait of Sir Robert Walpole 101 


VAN MARCKE, EMILE 

Born at Sevres in 1827, of Belgian descent on the father’s side. He 
_ made the acquaintance of 'Troyon in Sevres and became that master’s 
pupil, working with him at Fontainebleau. To the occupation of 
painting he added that of landed proprietor, breeding cattle exten- 
sively on his own farm at Bouttencourt in Normandy. He died at 
Hyeres in 1891. 

Landscape and Cattle 


VEDDER, ELIHU, N. A. 


Born in New York in 1836, of a family descended from the old Dutch 
settlers. His talent asserted itself while still a boy and after some 
experience with T. H. Matteson at Sherburne, New York, he studied 
the old masters in Italy and painted under Picot in Paris. Return- 
ing to America, he set up a studio in New York and supported him- 
self by drawing on wood for publishers. For many years he has re- 
sided in Rome. Alike in his figure subjects, mural paintings, and 
drawings, such as the designs for the “Rubdiydt,” he has proved 
himself an artist of powerful intellect, rare imagination, and decora- 
tive skill. | 


Ideal Head, — Tito 
WILSON, RICHARD, R. A. 


Son of the parson of Pinegas, Montgomeryshire, where he was born 
in 1714, Wilson’s taste for drawing attracted the attention of Sir 
George Wynne, who introduced him to a portrait-painter in Lon- 
don named Wright. In the same branch of art he contrived to make 
a living until 1749, when he visited Italy; and by the advice of Zuc- 
carelli devoted himself to landscape. After six years’ stay in Italy he 


( cxxxvil ) 


17 


45 


THE WARREN COLLECTION 


NUMBER 
returned home to find Zuccarelli worshipped and himself neglected. 
In 1760, however, his ‘‘Niobe” made a great impression and at the 
foundation of the Academy in 1768 he was one of the thirty-six 
original members. His struggle with poverty was slightly alleviated 
by his appointment as Librarian of the Academy, but it was not till 
he received a legacy in 1780 that he was able to return to a pleasant — 
home in Llanberris, where he died two years later. It has been re- 
served for posterity to hail him as one of the great masters of land- 
scape. | 

/ Tivoli Landscape — ) 

WOHLGEMUTH, MICHAEL 

Born at Nuremberg in 1434. After receiving instruction, probably 
from his father, he, like other apprentices, spent three years in wan- 
dering through Germany and the Netherlands. Returning to his 
native city, he opened a large studio, in which, assisted by numerous 
apprentices, he painted religious pictures to order or made such 
wood-cuts as those which fill the pages of the famous “Chronicle of 
Nuremberg.” Among his pupils was Albrecht Diirer. He is repre- 
sented in the Louvre; the Aschaffenburg Gallery; the Old Pina- 
kothek, Munich; the Germanic Museum, Nuremberg; the Leichten- 
stein Gallery, Vienna; the Liverpool Institution, and elsewhere. He 
died at Nuremberg in 1519. . 

J Death of the Virgin 


ZAMACOIS, EDUARDO 

Born in Bilbao in 1842. He studied with Balaco in his native 
city, afterwards entering the Madrid Academy under Federico de 
Madrazo. Thence he proceeded to Paris, where he was a pupil of 
Meissonier. His subjects are largely costume pieces of the seven- 
teenth century; fine in color and full of ésprit. He was one of the 
most brilliant of the Spanish group in Paris, until his untimely 
death in 1871. 


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